Reviews (2)

Lon Chaney is on the cover but this is Jackie Coogan's film
It is certainly interesting to consider that this 1920 version of "Oliver Twist," the classic novel by Charles Dickens, was intended as a vehicle for Jackie Coogan. Of course, today they put Lon Chaney on the box to pique our interest, but while his Fagin is a commanding presence in the film, he does not pop up until halfway through. Coogan later told the story of how he was first introduced to Chaney in full make-up on the set and was immediately terrified. We have heard about the magic Chaney could do with spirit gum and greasepaint, but notice how impressive his FINGERNAILS are in this film. Having worked with Chaplin in "The Kid," Coogan certainly recognized Chaney's star quality. Coogan's performance is certainly stronger than it was in "The Kid," and you have to appreciate the way he underplays the part, something you would associate with neither kid actors nor silent film stars. George Siegmann makes a memorably monstrous Bill Sikes, Gladys Brockwell is Nancy, and Edouard Trebaol plays the Artful Dodger. Scottish born director Frank Lloyd is usually not recognized as one of the greats of the silent era, but he did make over 100 films and won three Oscars ("The Divine Lady," "Cavalcade," and "Mutiny on the Bounty"). More importantly, he had a love for Dickens that comes through in this film. I amazed at the fact this is only a 74 minutes film; clearly a lot is cut out, but it captures the spirit of Dickens. This was the fourth silent version of the Dickens tale and actually was not topped until the 1948 film with John Howard Davies as Oliver and Alec Guiness as Fagin. Of course, in 1968 the musical version won the Oscar for best picture.

Great silent adaptation of Dickens' classic
This version of "Oliver Twist" is a scant 74 minutes long, but contains much more of the book (including a portion of the Rose Maylie sequence) and retains a highly Dickensian flavor when viewed alongside other adaptations.

If you are new to silent films, this could be a good one to whet your appetite. If you are already a fan, give this one a try. The film is primarily a vehicle for Jackie Coogan, which proves to be just fine, as he is delightful in the title role. His expressive face and tiny stature are dead-right for Oliver, and he has more spunk than most exponents of the role, which helps to allay the saccharine nature of the character.

Fans of Lon Chaney may be disappointed with the little screen time he is given, but he makes the most of it. Subtle touches Chaney adds (such as gently laying a hand on Bill Sikes' chest) give a wealth of subtext and nuance to his performance, and adds immeasurably to our understanding of Fagin as petty thief.

The rest of the cast is good, with a fine performance from Gladys Brockwell as Nancy. She is another aspect of the film which rings true to Dickens: she is less the "hooker with a heart of gold" than a complex, hardened woman who has grown up among criminals yet retains her conscience.

Mention must also be made of the fine production design. Many scenes look as though they were lifted from the original Cruikshank illustrations (especially the meeting at London Bridge) and the men look particularly appropriate for the period. Some of the women retain the '20s look in makeup and hair, which is typical of Hollywood period movies through the 1970's.

The title cards also are well-done, either quoting directly from Dickens or retaining his authorial flavor.

All told, this is a winning adaptation of a perennial favorite. ... Read more

Reviews (8)

This is why she was a star!
This formulaic tale of a shopgirl who moves up is classic Crawford... she looks spectacular and rises above her material to compell and delight the whole way. She is so appealing it is evident why she was such a popular star...more beautiful than most of today's crop of film femmes and talented, too!

You Go Girl!
Okay, so this is a hokey little story from Hollywood's golden age that would rate no more than a movie-of-the-week if it were tried today. That said, it's also a classic example of the studio star system at its most efficient. This was a "Joan Crawford" movie in the best sense, tailored to her particular talents and appealing to her audience's sensibilities. Crawford was an erratic but nevertheless underrated actress who admittedly gave some amateurish performances in her long career. Still, she improved from a limited performer to a rather accomplished one through years of determination and a professional work ethic. "Sadie McKee" is a prime example of that process in motion. What could have been a tawdry and unbelievable tale is made vivid and involving through Crawford's sincerity in the part. She pulls off both her devotion to the vapid Gene Raymond (you know he's not good enough for her right from the start) and her consternation (meaning her attraction ) to the suave Franchot Tone, who is in fine form himself here. Most memorably, however, is how Crawford handles the tricky premise in her marriage-for-money with Edward Arnold. This could have made her character despicable, but Crawford brings out the character's humanity in rather touching manner. This gives her an opportunity to display her most likeable quality as an actress, her loyalty, and you want to root for her, not reject her, more than ever. It's just right for "Sadie" and saves the movie from mawkishness. Yes, this is a "Crawford" film, but if the uninitiated want to know just what a "Crawford" film really was at MGM, start here. You'll get the point, and maybe Joan Crawford will be resurrected from the demon of THAT BOOK to the classic Hollywood ACTRESS she truly was. She earned the right.

A FINE VEHICLE FOR JOAN CRAWFORD!
In my opinion, this is quite the epitome of early Crawford melodramas. Very entertaining despite the admittedly contrived plotline. Pretty Sadie works as a maid in the same household where her mother works as a cook (Veda and Mildred?). She's admired by the son of her employer, Michael Alderson (Franchot Tone). But Sadie loves Tommy Wallace (Gene Raymond). When Alderson denounces Wallace during a during dinnertime, Sadie takes offense and goes off to New York with her lowly, common boyfriend......But there are more twists and turns than California's 1O1 in store for Sadie! Jean Dixon is fantastic as Opal, the tough club performer and Esther Ralston got her last really good role in films as Dolly Merrick. Crawford was pleased to work with Ralston (who was big in the 2O's) but resented the fact that she made up her eyes like her own! Loud, obnoxious Edward Arnold does a great job portraying the alcoholic millionaire Jack Brennan whom Sadie weds. Singer Gene Austin and jazz musicians Candy and Coco (aka "the hottest boys this side of Hades" made their debuts in this film. Arnold cited Jack Brennan as one of his favourite roles.

Good show!
While enjoying a late night snack, I happened to switch on my favorite cable channel, Turner Classic Movies. The introductory credits were rolling for a movie entitled "Sadie McKee". I was curious about the title so I decided to watch a few minutes of this movie before turning in.

So much for a good night's sleep! This movie had me transfixed for its entirety. It is the story of a working class girl, Sadie McKee, admirably played by Joan Crawford, who is the daughter of a cook who works for the wealthy Alderson family. Franchot Tone plays Mike, son of the Aldersons. Mike has always liked Sadie and vice versa.

However, when Sadie's boyfriend Tommy, played by Gene Raymond, is fired by Mike and not given a second chance, Sadie's attitude towards Mike changes. She follows Tommy to New York City where he goes in search of a job. Sadie and Tommy plan to marry until Tommy falls prey to the temptations of the Big City.

Sadie and Tommy's marriage is off when Tommy fails to meet Sadie at City Hall for their marriage license. To support herself, a girlfriend finds Sadie a job in a dance hall where she meets a kind-hearted, alcoholic millionaire, Jack Brennan, brilliantly played by Edward Arnold. Coincidentally, Jack is a good friend of Mike Alderson's.

We then witness Jack's quick marriage to Sadie and the events that follow.

In 1934 when this movie was made, Joan Crawford was already a huge star at MGM. Yet she completely and miraculously sheds her glamorous image in her portrayal of Sadie. You believe Joan as the honest, down to earth working girl out on her own struggling to find happiness and security. And you continue to believe Joan as Sadie when Sadie becomes a rich man's wife. Sadie shows toughness and compassion as she fights to save Jack's alcohol abused life in spite of suspicions that she is just after his money.

I have always had ambivalent feelings about Miss Crawford since watching the supposed "true" story of her terrifying relationship with her daughter Christina in "Mommie Dearest". Whether or not this was true, Crawford still has many fans and lifelong friends who adore and defend her. They describe her loyalty, generousity, and her earnest commitment to her craft.

And indeed, that commitment is quite evident in her role as Sadie McKee. Joan realistically displays a full range of emotions through the different stages of Sadie's life. With skill and spirit, Crawford makes you care about our tenacious and tender heroine, Sadie.

"Sadie McKee" is a first rate production in every department. Good show!

The Young Crawford excels
Very entertaining soap opera-deluxe with Joan Crawford at her radiant best -in fact this one must be one of her '30s best and better known films- playing Sadie, an extremely honest working girl, who has all-the-guts.

Although much has been said and blah-blah-ed about Crawford's lack of acting talent, especially in this early stage of her long film career, I must say that the plain fact is that her acting here, undeniably, seems a lot more contemporary and down-to-earth to today's audiences and by nowadays standards, than that of many actresses and stars of the 1930s. The screen doesn't lie, each film is a testimony in itself. And what can one say about those expressive eyes of hers.

In fact, the first time I saw Crawford onscreen, was in one of her earliest movies, all-star "Grand Hotel", I was much younger then (18) and her acting struck me a lot more convincing than Garbo's (the other female star of that picture), whose playing, at first sight, seemed to me rather contrived and mannered and maybe too "theatrical", in spite of the fact that she was playing a doomed Russian ballerina (that's why she was better suited to period films).

Crawford's three leading men in this film, all give strong performances: Gene Raymond, as the irresponsible Tommy, the love of her life; Franchot Tone (her husband-to-be in real life), as the very righteous Michael, whose attitude towards Crawford is unjustly unsympathetic for most of the picture; and great character actor Edward Arnold, as booze addict Brennan, a millionaire with a heart of gold who marries Crawford.

Also in the cast, very pretty silent star of lesser magnitude, Esther Ralston, who also had certain small success in early talkies, in the downhill of her film career, playing a singer who steals away Tommy from Sadie; and Jean Dixon, as Crawford's understanding and ever-helpful friend. Nice supporting too, from Leo G. Carrol as Brennan's butler and Akim Tamiroff as the owner of a joint.

This movie is worth every buck, you won't be disappointed, it'll catch your attention right from the very start, even my 12 year old niece was taken by it and wanted to watch the whole show! That's the living proof of Crawford's screen truth. ... Read more

Reviews (4)

MASTER & COMMANDER Of The Silent Era.
Having recently seen and thoroughly enjoyed MASTER & COMMANDER: THE FAR SIDE OF THE WORLD with Russell Crowe and its incredible depiction of life aboard an early 19th century frigate, I felt compelled to trot out this silent classic from my VHS collection (it's not available on DVD) and revisit this 1926 view of shipboard life. I hadn't seen the film in quite some time and was surprised to note that several scenes in OLD IRONSIDES are quite similar to scenes in MASTER & COMMANDER. Surely director Peter Weir must have screened this film before making his. The battle sequences are very similar with sand being spread on deck to absorb blood, the crew hitting the deck to avoid a volley, young boys dying during the fighting, and fierce close up hand to hand combat. Both movies are set during the same time period but the storylines are very different with the USS Constitution (Old Ironsides) versus the Barbary Pirates being the setting here and in the classic Hollywood tradition there is a woman involved. Charles Farrell who was a big romantic lead in the 20's especially when paired with Janet Gaynor, shows here why he was so popular. He is vulnerable but heroic, reserved but not stoic and he possesses an effortless charm that makes him appealing. Although playing the standard damsel in distress role, Esther Ralston makes an engaging heroine who is not a total wimp when the going gets tough. Character actors Wallace Beery and George Bancroft have a field day as feuding sailors while George Godfrey is featured in a more significant role than black actors of the time were usually given. Add to that some brief nudity and a discreetly sexy performance from Ralston (she was once known as The American Venus) and you have a real winner on your hands. The film is well directed by James Cruze (THE COVERED WAGON, THE GREAT GABBO) who is all but forgotten today due to most of his films being lost. Hopefully Paramount will soon release this on DVD along with the others in their silent film series of a few years ago including WINGS. Until then this VHS version which features a beautiful print and a digitally recorded organ score by Gaylord Carter at an excellent price is certainly worth having.

A rousing silent movie about the U.S.S. Constitution
Oliver Wendell Holmes' famous 1830 poem "Old Ironsides" ("Ay, tear her tattered ensign down!") ends up being a silent screen navy adventure story in this 1926 film from director James Cruze. The story is now a historical romance, with the history being the war between the young United States and the Barbary pirates of Northern Africa (the shores of Tripoli you have heard sung about), and the romance being between the Boy (Charles Farrell) and young Esther (the beautiful Esther Ralston from Chaplin's "The Kid"). The film begins with Congress authorizing the lauching of the U.S.S. Constitution (the ship that would be immortalized as "Old Ironsides") and the U.S.S. Philadelphia. The Boy goes off to see on a ship named for young Esther and the young girl might be the only thing he loves more than the sea. On a trip across the Atlantic the Boy learns to be a true seaman, and he is called the Commodore after he trespasses on the poop deck to talk to Esther.

The middle part of the film has the Esther (the ship) being captured by pirates and brought to Tripoli, where the crew is enslaved and Esther (the Girl) being designated for the pleasures of the Sultan. Meanwhile, the U.S.S. Constitution arrives on the scene intent on destroying the Philadelphia, an American ship captured by the pirates that is being turned into a raider. Once that mission is accomplished, Lt. Stephen Decatur (Johnnie Walker), picks up the Commodore, the Bos'n (Wallace Beery), the Gunner (George Bancroft, and the Cook (George Godfrey), who have escaped from the pirates. Learning about the situation, Decatur attacks the pirates and provides the ship with a thrilling climax of hand-to-hand combat. Right before this there is neat little scene where Decatur has to punish the Gunner, who has AWOL because he was shanghaied to serving on the Esther. The punishment is 200 lashes, but the Gunner receives only two because Decatur counts them counts them as one hundred and two hundred.

"Old Ironsides" is close to be a really great action film. The first third where the Commodore learns to be a good seaman has several nice scenes, and the supporting cast of old tars is above average (Beery and Godfrey have fun stealing all of their scenes). However, the melodramatic middle third with the Esther's crew enslaved is average at best although the two principles are nice to look at. However, the film ends strongly with the climatic battle where "Old Ironsides" earns her name, even if historically that did not happen until the War of 1812. Boris Karloff has a bit part as a pirate and Olympic hero Duke Kahanamoku plays a Pirate Captain, while Gary Cooper is in this film somewhere as well if you want to spend time trying to spot him. This silent film is well worth seeing.

swashbuckling action
This classic from the silent movie era is great fun and an historically accurate romance/adventure about the battles against the Barbary pirates. There is plenty of action in what must have been one of the first films to depict a sea battle. And yet the scenes are very realistic in what it probably was like. The only literary license they took was when the cannonball bounced off the side which resulted in the USS CONSTITUTION being dubbed "Old Ironsides". That actually happened in a later war.

A Good Naval Yarn
Old Ironsides is a fine film dealing with the American Navy's fight against Barbary Coast pirates at the end of the 18th century. Its depiction of life on board ship, during this period, seems accurate, including details such as spreading sand on the deck during battle so that sailors wouldn't slip on the blood and gore. Moreover it uses a number of full-size sailing ships during these battles and these ships look completely authentic. The performances in the film are at times a little broad. This is especially the case with Wallace Beery and George Bancroft as hard fighting sailors. But these two are always fun to watch and a bit of over the top acting can be forgiven in an adventure film. Charles Farrell and Esther Ralston play the romantic leads. Ralston looks lovely but is somewhat passive and insipid. Her role is almost entirely decorative. Farrell is rather better but finds himself constantly overshadowed by Beery and Bancroft. The video box mentions Boris Karloff as being in the cast, implying that he has a major role. This is not so. He can just about be glimpsed as an Arab extra. Gary Cooper is also supposed to be among the extras, but I didn't notice him at all.

The print used on the Paramount video is very good, clear and sharp with hardly any apparent damage. The film is accompanied by a fine Gaylord Carter organ score. Old Ironsides is great fun with lots of stunning action. Those who enjoy sea battles between old sailing ships will not be disappointed. ... Read more

Reviews (3)

An okay DVD
This DVD is dated. It looked as if it was made no later that 1960. Poor picture quality, and they could've featured more love goddesses.

DVD just like the video
While most DVDs add something special to the disc, this one has nothing new to add. Both the video and DVD have some entertaining clips of Theda Bara, Marlene Dietrich, Clara Bow, Pola Negri, Ingrid Bergman, Marilyn Monroe and others, but, unfortunately, the cuts between the Love Goddesses are obvious, as if the producers have done a quick job of putting all the actresses on a list and then splicing from one actress to another, without rhyme or reason. That's a shame because the subject is interesting. Still, if you love to watch some fascinating footage and will forgive the sudden shifts from one actress to another, you will enjoy "The Love Goddesses."

Celebrating the Love Goddesses of the Silver Screen!
This film, produced in 1965, is a wonderful collage of the many kinds of vamps, starlets, love goddesses, girls-next-door and sirens that have graced the silver screen since the turn of the century. See Theda Bara, Pola Negri, Lillian Gish, Gloria Swanson, Greta Garbo, Marlene Dietrich, Elizabeth Taylor, Ginger Rogers, Rita Hayworth and even the child star Shirley Temple put their own indelible brand of love on the screen. It examines how, over the course of sixty years, women's sexuality has evolved, and played itself out in different arenas in film. While some of the film clips are a little iffy, it is exceptionally well made. A pure joy to own if you are an admirer of any of the actresses presented, interested in women's studies, pre-code Hollywood or the history of sexuality in film. ... Read more

Reviews (11)

PETER PAN: An Enchanting Silent Film
I watched the Kino DVD of PETER PAN last night and was delighted to have this most charming of silent films finally available in a quality video release.

The picture quality, which was subtly tinted, will disappoint no one, although it looked more like a really good 16mm print than a 35mm to me. Perhaps I'm spoiled because I've never seen the film in any gauge but 35mm. A great deal of the magic in PETER PAN was supplied by cinematographer James Wong Howe. Scenes that could have been foolish in other hands became enchantment in his.

Phil Carli's score works perfectly: It had that "turn of the century, concert in the park on Sunday afternoon" feel to it. It wouldn't have worked with many silent films, but for PETER PAN it was marvelous------a tribute to Carli's ability to match a narrative theme with it's programmatic musical compliment.

PETER PAN is filled with magical touches that never seem to go too far or become foolish. Peter's heart to heart talk with the crocodile when they conspire to "get" Captain Hook was one of my favorites, as were the mermaids on the beach. The only point that has ever bothered me is at the end when Peter actually stabs and kills two of the pirates. Somehow I thought this was out of place and brought too much realism to a light hearted fairy tale. But this is very minor nit-picking of an otherwise flawless silent film.

The "value ads" are production stills from the film along with a poster and lobby card. There are also interviews with Esther Ralston (one video and three audio), who plays Mrs. Darling. The things she has to say about Louis B. Mayer are more than just interesting.

A title card at the very beginning tells the audience that the acting may seem whimsical to an adult but that "all the characters are seen with a child's outlook on life.....even to the adults in the story. Pull the beard on a pirate and you would find the face of a child." So for 102 minutes, clap your hands and pretend you believe in fairies.

Jay F.

The silent screen classic of the boy who would not grow up
This 1924 silent film version of James M. Barrie's timeless story is an exquisite little film. Barrie himself selected Betty Bronson to be the screen's first Peter Pan. The performances by Bronson and Ernest Torrence as Captain Hook are both excellent and much better than we have come to expect from the silent era. However, it is the photography which stand out more than anything else, which turns out not to be surprising because "Peter Pan" was one of the early film shot by the great cinematographer James Wong Howe. The film is directed by Herbert Brenon, who made the silent version of "Beau Geste" two years later. This 102 minute version is fully restored from the original nitrate materials, with authentic color tints and a new musical score. I doubt I am alone in thinking that this version is even more charming that the television specials and cartoon versions most of us watched growing up.

For the kid in all of us
The first thing you notice in the film is the credits. Among them is George Ali as Nana the dog. Then there is a reminder that this film is for the kid in all of us and that even the pirates are kids at heart.

As the scene opens up we see that this film is more of a stage play captured on film. Nana takes center stage and is so well portrayed that you have to remember it is a George in a fur suit. For people that do not know the story it is well played out and you find yourself actually anticipating the next sentence. For those that do know the story you are in for a few surprises. There are a few scenes of Neverland that look a tad like the California coast. The crocodile is cute.

Several things stand out in this film that you can not help but notice; among them are that it is Americanized to the point that when the pirate ship is taken the "Jolly Roger" is replaced with "Old Glory" instead of the "Union Jack". There seems to be lots of medicine handed out. And surprise, a brief request for audience (this means you) participation. Peter Pan traditionally is portrayed by a woman however Betty Bronson is a tad over developed for the part. Bronson is very convincing.

This is the story if a young lad that decides never to grow up. He is snooping around the Darling house and being spotted escapes with the exception of his shadow that got caught. On a return trip he convinces the Darling siblings to fly of to Neverland where they have many adventures with pirates, Indians and fairies. Will they also never grow up and what will the parents do?

All in all the film follows the story and you may find this to be one of if not your favorite version.

Very accurate
I recently bought this movie because I'm a huge fan of Peter Pan and I was curious to see this 20s rendition of the lovely story. Though I wasn't expecting much, it was very accurate to the story. A very good movie, but I was a little disappointed at how they made the Darling children into patriotic Americans. Sure that would have been fine had they really been American..but no... Yeah the patriotism was borderline cheesy. But I guess we can't win all the time. If you can get past that, it's an amazing movie. Betty Bronson did a good job at the boy who never grows up, very cute. I'd recommend it for anyone who likes Peter Pan or old movies (or both for that matter).

Silent Peter
Paramount's 1924 production was a major film in its day, an epic and a hit. Although James Barrie had written extensive screen treatments (totally new Peter Pan material now lost, apparently), for this film, none of it was used by the studio.
However, Barrie retained casting approval, even after a massive search for the woman to play Peter. Nevertheless, the creator's presence and imprimatur proved to be good fortune for the studio.

This 1999 dvd of a restoration of the film is important, although I believe it deserves a better overall presentation for us today. The story is an adaptation of the little fairy play we're all familiar with. Though stiffly directed by the temperamental Herbert Brenon, the story takes its own time and was filmed on a stage. The picture looks fine, and the orchestral score composed for this release shows affection for the material. The special effects are often simple, ingenious, and charming. However, it includes a real pirate ship in open water and mermaids on an island shore. George Ali's performance as Nana and the crocodile are almost worth the price of the disc; if you see it, you'll know what I mean. The special features of the disc, goodies we've all come to enjoy, are the bargain basement variety here. There is a fine essay on screen describing the film's background. But the feature of Esther Ralston's remembrances (she played Mrs. Darling) doesn't work on my disc. Selecting it stops the disc. Cold. The feature of production stills is adequate but incomplete. Perusing other books on the subject and the silent film era reveals many more production and publicity stills than are on the disc, including a theater lobby photo of Michael Darling (7 year old Philippe de Lacy) standing up bare in the bathtub while Nana, with cloth in paw,washes him. The adaptation also includes many of the traditional errors relating to Peter Pan, for example, Peter (Betty Bronson) crows like a rooster, but in the real story Peter doesn't do that, that is, his "crowing" means that he's bragging and strutting around; and it's not Never Never Land, it's the Neverland. At the end, after some patriotic American sloganeering, the Lost Boys fly off in the Jolly Roger and raise the Star and Stripes. The meeting between Peter and Wendy is described in the essay as "fey", and that's accurate. One of the things they got right was how unapproachable Peter is. Both Wendy and Tiger Lilly (played by Anna Mae Wong) want Peter as a husband. Well, boyfriend. All Peter wants is a mother.

There's always been a problem understanding Peter Pan. There've been Freudian and Jungian interpretations, such as, Hook is Peter's father and Peter represents the collective myth of eternal youth. I see Peter as representing the Green Man myth. Barrie, from Scotland, would've known this Celtic myth. The Green Man wears a mask of leaves, comes in the Spring, and often takes a consort, the Spring or Flower Maiden, back to the forest. Peter Pan wears only leaves, comes in the Spring, and takes Wendy to Neverland. The Green Man is a symbol of new or reborn life after Winter, and Peter states he is like the little bird just hatched. There is Spring in Neverland whenever Peter's in residence.

Peter has almost always been played by a woman in professional, commercial productions (there have been a few men who've done it). Even the famous statue in Kensington Gardens, which Barrie deplored because it doesn't "show the Devil in Peter", was modeled by a girl in a dress. There is a new film opening this December 25, based more on the novel, that has a young boy, 13 year old Jeremy Sumpter, in the role. A little revolution, now and then, is a good thing. Contrary to the publicity, though, he's not the first boy to play Peter Pan in a professional production. That would be the famous child star, Freddy Bartholomew, in a radio play in 1936. Given Bartholomew's precise, educated British treble, that show would've been charming to hear. It's a pity it is lost to the ether. Curiously, almost every major production has claimed to follow Barrie's intentions, but none, including this famous film from 1924, ever has. Like with productions of Tom Sawyer and Huckleberry Finn, the grown ups or censors squash the fun or alter the characters. They can't help themselves. But I've read of people, including Walt Disney, who recalled seeing this film in 1924 and always had fond memories of it. It opened Christmas morning; just imagine what a treat for the children then!

Despite its flaws and the disc's faults, this is an important film of the silent era, and is fun to watch. I recommend it to anyone who has an interest in the history of cinema or even Peter Pan.

I know Peter would love it; he loves any story about himself. ... Read more

Reviews (2)

a tale of feuding families!
in my opinion, the zane grey paramounts were some of the best early sound westerns ever made. they were the training ground for many future stars as randolph scott, buster crabbe,dean jagger, and yes even shirley temple! to the last man has a strong cast with such notable villians of the time as noah beery sr. and jack larue. when they are on the screen you know supreme villiany is at hand.randolph scott as the main character, and esther ralston as the heroine stand out in this zane grey western with above average performances for its time. the saga of two feuding clans,span two decades in the film and has a stunning climax. as far as the quality of the tape itself, one has to remember, back in the 1930s, each studio was trying to establish itself in the early talkie era. for example,paramounts products seem to have more grey, while rko had a darker look to it. the studios had their own look to their films. this title is no exception. contrast is light gray. but ala in all for 1933 its ok. try it, afterall it was shirley temples first feature!

Typical Western
To the Last Man" is a fairly typical, straightforward Western. It's the old 'Hatfield/McCoy' family feud scenario, complete with gunfights, cowboys on horseback and young lovers that cross the enemy lines to stay together. There isn't anything particularly Earthshaking or memorable here.

Perhaps the most interesting feature of "To the Last Man" is the presence of a five year old Shirley Temple in a small role as Randolph Scott's daughter. She did the film well before her child star days, while she was under contract at a Poverty Row studio and doing bit part and walk-on work around Hollywood. Her screen brother, Delmar Watson, appeared with her again 5 years later in "Heidi" at Fox.

If you're a fan of early talkie Westerns you might like this movie, but if not, "To the Last Man" might not keep your attention for long. ... Read more

Reviews (2)

a tale of feuding families!
in my opinion, the zane grey paramounts were some of the best early sound westerns ever made. they were the training ground for many future stars as randolph scott, buster crabbe,dean jagger, and yes even shirley temple! to the last man has a strong cast with such notable villians of the time as noah beery sr. and jack larue. when they are on the screen you know supreme villiany is at hand.randolph scott as the main character, and esther ralston as the heroine stand out in this zane grey western with above average performances for its time. the saga of two feuding clans,span two decades in the film and has a stunning climax. as far as the quality of the tape itself, one has to remember, back in the 1930s, each studio was trying to establish itself in the early talkie era. for example,paramounts products seem to have more grey, while rko had a darker look to it. the studios had their own look to their films. this title is no exception. contrast is light gray. but ala in all for 1933 its ok. try it, afterall it was shirley temples first feature!

Typical Western
To the Last Man" is a fairly typical, straightforward Western. It's the old 'Hatfield/McCoy' family feud scenario, complete with gunfights, cowboys on horseback and young lovers that cross the enemy lines to stay together. There isn't anything particularly Earthshaking or memorable here.

Perhaps the most interesting feature of "To the Last Man" is the presence of a five year old Shirley Temple in a small role as Randolph Scott's daughter. She did the film well before her child star days, while she was under contract at a Poverty Row studio and doing bit part and walk-on work around Hollywood. Her screen brother, Delmar Watson, appeared with her again 5 years later in "Heidi" at Fox.

If you're a fan of early talkie Westerns you might like this movie, but if not, "To the Last Man" might not keep your attention for long. ... Read more

Description

Ernst Lubitsch's first American comedy masterpiece, the film that kept him in the States. Reeling from the difficulties encountered on his first American film, "Rosita," Lubitsch was ready to return to his native Germany until Warner Brothers, looking for an identity other than Rin Tin Tin, offered the director a chance to make his own unique films. In "The Marriage Circle," Lubitsch's influential silent comedy effortlessly follows the love and lust, flirtations and phoniness among several upper-crust citizens of Vienna. In Lubitsch's deft hands, "The Marriage Circle" continues the tradition of manners comedy and shows the "touch" the director was famous for. Lubitsch knew that in an atmosphere of hushed whispers and discretion, a kiss can carry quite an erotic charge. To see "The Marriage Circle" in this glistening print derived from the original negative, with an appropriately lilting score by the Mont Alto Orchestra, is to fall in love with the movies--and Ernst Lubitsch--all over again. ... Read more

Reviews (2)

Another Kind of Silent Comedy
The most famous examples of silent comedy are the brilliant films of Chaplin and Keaton, but this type of comedy was not the only type of comedy there was. The Marriage Circle shows another way of being funny, the sophisticated, witty, comedy of manners. It may not be as dazzling and inventive as the work of Chaplin or full of the daredevil stunts of Keaton, but Lubitsch's style, in its own way, is equally amusing. Moreover it is this style of comedy which was developed into the sound era. The Marriage Circle can be seen as a sort of prototype for films like The Philadelphia Story.

The story concerns two couples, Adolphe Menjou and Marie Prevost who loathe each other and Monte Blue and Florence Vidor who are living a life of married bliss. Prevost sets out to find love with Blue, who tries desperately to resist her, while Menjou sets out to obtain evidence of infidelity which he can use to obtain a divorce. This all leads to numerous complications and misunderstandings. The plot is relatively conventional, but it does not descend into farce. These are characters grounded in real life, albeit the life of high-society Vienna. The many laugh-out-loud moments are derived from the situations the characters find themselves in. The humour comes from the skill of the actors in portraying their characters. There is some really wonderful acting in this film. These actors can convey their thoughts with a subtle change of expression or posture.

The quality of the print used for this Image DVD is superb. It is sepia tinted throughout and shows hardly any signs of damage. There are some occasional scratches and a few frames are missing here and there, but thankfully The Marriage Circle has survived in an almost pristine condition. The film is accompanied by a fine score which follows the action very closely and adds greatly to the enjoyment of the film.

A PERFECT EXAMPLE OF COMEDY FILM MAKING
The classic that made Ernst Lubitsch one of the most imortant director in Hollywood history is finaly back for to the general public. THE MARRIAGE CIRCLE actually created the genre of sophisticated romantic comedy. Lubitsch's inteligence in his mise-en-scene as well as in his editing makes this a hiralious film, so funny it actually becomes a true work of great art.

Two couples, one facing divorce and the other still loving each other. The wife of the first couple is attracted to the husband of the second couple (who also happens to be her best friend's husband). Though the husband of the second couple is rather annoyed by her interest in him, the other husband doesn't miss the chance to get the divorce in his terms. On the other hand, the wife of the second couple gets suspicous about her husband. So... the basic idea is rather simple, even conventional. It is how Lubitsch twists the plot around these themes and create situations that are unconfortable for the characters but hilarious for us, and how he develops these situations as cinema which is so great about this film. The result is, simply one of the funniest movie you've ever seen. As a silent film, it doesn't have dialogues. But when you see it, you'd understand that the film does not need dialogues (incidentally, Lubitsch himself remade this film as a musical: ONE HOUR WITH YOU which is also quite enjoyable, but not as good as the original).

The story is set in Vienna, and the sophisticated costumes and sets are also a joy to watch. The women are beautiful; Florence Vidor is so innocently charming while Marie Prevost is gorgeously provocative. And You will also enjoy the delicious performance from the actor Adolph Menjou.

The new transfer is created and restored from an original print. I had the chance to see it on a VHS test copy and it looks quite stunning. Certain scenes are tintted with gorgeous color, as originally intended by the filmmakers. So, it's actuallu not correct to list this film as Black and White. ... Read more

Reviews (2)

I love horses & wish they would transfer it on DVD!
I love horses & the color black & I think the american quarter horses are black & they would be the best color.

I hope they put this on DVD on Friday, September 5th, 2003 this year & I want them too cause it will be cool that anyone of them could watch DVD's on laptop.

I always loved the book Black Beauty & I mostly like the Black Beauty video starring Sean Bean in the 1994 one.

This Black Beauty video released in 1933 reminds me of the 1971 video of Mark Lester starring in Black Beauty, Mystery of the Hooded Horseman starring Tex Ritter, Trouble in Texas starring Tex Ritter, Liar Liar starring Jim Carrey, Black Beauty (Great Illustrated Classics) book & City Slickers starring Billy Crystal?

It is all like western & action & romantic!

I sort of enjoyed it but, loved it!

Great for young kids
My 4 year old daughter has a new found interest in horses. She watched this classic story several times. Horses are on the screen at all times. I not sure how much she understood the plot but she was mesmerized by the beauty of the horses. Wholesome entertainment! Great for the whole family. ... Read more

Reviews (4)

Bow - A Celluloid Treasure
"Clara Bow: Discovering The "It" Girl" is an insightful look at the life and times of one of the cinema's greatest treasures.

Narrated beautifully by Courtney Love, with insights from Clara's friends,and family, we get a good look at what made her the superstar of the silents and early talkies that she was and still is to this day.

It takes us on a journey from her early childhood, growing up in a dysfunctional family, through her earliest film work, in which the directors found her extraordinarily talented, her rise to super stardom and having what it took to become the "It" girl(that shocked, yet endeared her to her audiences), to her eventual decline, beginning with the arrival of the "talkies".

Although remembered primarily as the first big sex symbol to grace the screen, she was much more than that and overcame terrific odds to bring us the gifts she left us with.One of those wonderful silent films, "Wings" became the first film in history to win the Academy Award for Best Picture.

Although there are many film clips and fond rememberances discussed by people who were closest to her, and the documentary is captivating and informative, it just wasn't enough. It ran close to an hour, but if you are a big fan of Bow's you will want more! More clips and maybe more facts from some film historians would have been nice.(Leonard Maltin does contribute some, but not enough).

It's definatly worth the view for any Bow fan or film buff. She's one of the reasons I love movies so much, and this Bio made me want to watch everything she ever made!

Enjoy......Laurie

Still has "IT"
I really enjoyed watching this story of a Beautiful, full of life, ball of energy. No wonder she was called the "IT" Girl, she had it all, from humble beginnings to all hell that small minded people could through at her, looks money ..etc. Anyone who likes movies or the Hollywood legends will adore this story !!

Sparkling Image Masks Tragic Life
Clara Bow was a vivacious, beautifu example of flaming youth in the twenties--the "It Girl" was a sensation, a truly great sex symbol who still has a contemporary quality even when viewing her films from long ago. Yet, as this documentary so poignantly illustrates, Bow's life, in spite of her great popularity, was no bed of roses. Misfortune was her earliest companion, and the shadows of poverty and abuse were always close at hand. As narrated with real feeling and restraint by Courtney Love, we learn how Bow rose above these stumbling blocks to become one of Hollywood's biggest stars in the Twenties, only to have her private life once again sabotage her efforts at finding happiness. This is a very touching film that is a fitting tribute to one of Hollywood's silent icons.

Long overdue look at early screen icon
Though by no means ground breaking, this is an overdue re-examination of what is described as Hollywood's first sex symbol. With a personal history more complex and tragic than better known icons ranging from Marilyn Monroe to Jean Harlow, it is amazing that Bow is not better remembered.The narration by Courtney Love, who no doubt shares more than a few things in common with the subjet, is worth noting. She brings real emotion to the voice over without going over the top. ... Read more

Reviews (2)

Lon Chaney is on the cover but this is Jackie Coogan's film
It is certainly interesting to consider that this 1920 version of "Oliver Twist," the classic novel by Charles Dickens, was intended as a vehicle for Jackie Coogan. Of course, today they put Lon Chaney on the box to pique our interest, but while his Fagin is a commanding presence in the film, he does not pop up until halfway through. Coogan later told the story of how he was first introduced to Chaney in full make-up on the set and was immediately terrified. We have heard about the magic Chaney could do with spirit gum and greasepaint, but notice how impressive his FINGERNAILS are in this film. Having worked with Chaplin in "The Kid," Coogan certainly recognized Chaney's star quality. Coogan's performance is certainly stronger than it was in "The Kid," and you have to appreciate the way he underplays the part, something you would associate with neither kid actors nor silent film stars. George Siegmann makes a memorably monstrous Bill Sikes, Gladys Brockwell is Nancy, and Edouard Trebaol plays the Artful Dodger. Scottish born director Frank Lloyd is usually not recognized as one of the greats of the silent era, but he did make over 100 films and won three Oscars ("The Divine Lady," "Cavalcade," and "Mutiny on the Bounty"). More importantly, he had a love for Dickens that comes through in this film. I amazed at the fact this is only a 74 minutes film; clearly a lot is cut out, but it captures the spirit of Dickens. This was the fourth silent version of the Dickens tale and actually was not topped until the 1948 film with John Howard Davies as Oliver and Alec Guiness as Fagin. Of course, in 1968 the musical version won the Oscar for best picture.

Great silent adaptation of Dickens' classic
This version of "Oliver Twist" is a scant 74 minutes long, but contains much more of the book (including a portion of the Rose Maylie sequence) and retains a highly Dickensian flavor when viewed alongside other adaptations.

If you are new to silent films, this could be a good one to whet your appetite. If you are already a fan, give this one a try. The film is primarily a vehicle for Jackie Coogan, which proves to be just fine, as he is delightful in the title role. His expressive face and tiny stature are dead-right for Oliver, and he has more spunk than most exponents of the role, which helps to allay the saccharine nature of the character.

Fans of Lon Chaney may be disappointed with the little screen time he is given, but he makes the most of it. Subtle touches Chaney adds (such as gently laying a hand on Bill Sikes' chest) give a wealth of subtext and nuance to his performance, and adds immeasurably to our understanding of Fagin as petty thief.

The rest of the cast is good, with a fine performance from Gladys Brockwell as Nancy. She is another aspect of the film which rings true to Dickens: she is less the "hooker with a heart of gold" than a complex, hardened woman who has grown up among criminals yet retains her conscience.

Mention must also be made of the fine production design. Many scenes look as though they were lifted from the original Cruikshank illustrations (especially the meeting at London Bridge) and the men look particularly appropriate for the period. Some of the women retain the '20s look in makeup and hair, which is typical of Hollywood period movies through the 1970's.

The title cards also are well-done, either quoting directly from Dickens or retaining his authorial flavor.

All told, this is a winning adaptation of a perennial favorite. ... Read more

Reviews (4)

MASTER & COMMANDER Of The Silent Era.
Having recently seen and thoroughly enjoyed MASTER & COMMANDER: THE FAR SIDE OF THE WORLD with Russell Crowe and its incredible depiction of life aboard an early 19th century frigate, I felt compelled to trot out this silent classic from my VHS collection (it's not available on DVD) and revisit this 1926 view of shipboard life. I hadn't seen the film in quite some time and was surprised to note that several scenes in OLD IRONSIDES are quite similar to scenes in MASTER & COMMANDER. Surely director Peter Weir must have screened this film before making his. The battle sequences are very similar with sand being spread on deck to absorb blood, the crew hitting the deck to avoid a volley, young boys dying during the fighting, and fierce close up hand to hand combat. Both movies are set during the same time period but the storylines are very different with the USS Constitution (Old Ironsides) versus the Barbary Pirates being the setting here and in the classic Hollywood tradition there is a woman involved. Charles Farrell who was a big romantic lead in the 20's especially when paired with Janet Gaynor, shows here why he was so popular. He is vulnerable but heroic, reserved but not stoic and he possesses an effortless charm that makes him appealing. Although playing the standard damsel in distress role, Esther Ralston makes an engaging heroine who is not a total wimp when the going gets tough. Character actors Wallace Beery and George Bancroft have a field day as feuding sailors while George Godfrey is featured in a more significant role than black actors of the time were usually given. Add to that some brief nudity and a discreetly sexy performance from Ralston (she was once known as The American Venus) and you have a real winner on your hands. The film is well directed by James Cruze (THE COVERED WAGON, THE GREAT GABBO) who is all but forgotten today due to most of his films being lost. Hopefully Paramount will soon release this on DVD along with the others in their silent film series of a few years ago including WINGS. Until then this VHS version which features a beautiful print and a digitally recorded organ score by Gaylord Carter at an excellent price is certainly worth having.

A rousing silent movie about the U.S.S. Constitution
Oliver Wendell Holmes' famous 1830 poem "Old Ironsides" ("Ay, tear her tattered ensign down!") ends up being a silent screen navy adventure story in this 1926 film from director James Cruze. The story is now a historical romance, with the history being the war between the young United States and the Barbary pirates of Northern Africa (the shores of Tripoli you have heard sung about), and the romance being between the Boy (Charles Farrell) and young Esther (the beautiful Esther Ralston from Chaplin's "The Kid"). The film begins with Congress authorizing the lauching of the U.S.S. Constitution (the ship that would be immortalized as "Old Ironsides") and the U.S.S. Philadelphia. The Boy goes off to see on a ship named for young Esther and the young girl might be the only thing he loves more than the sea. On a trip across the Atlantic the Boy learns to be a true seaman, and he is called the Commodore after he trespasses on the poop deck to talk to Esther.

The middle part of the film has the Esther (the ship) being captured by pirates and brought to Tripoli, where the crew is enslaved and Esther (the Girl) being designated for the pleasures of the Sultan. Meanwhile, the U.S.S. Constitution arrives on the scene intent on destroying the Philadelphia, an American ship captured by the pirates that is being turned into a raider. Once that mission is accomplished, Lt. Stephen Decatur (Johnnie Walker), picks up the Commodore, the Bos'n (Wallace Beery), the Gunner (George Bancroft, and the Cook (George Godfrey), who have escaped from the pirates. Learning about the situation, Decatur attacks the pirates and provides the ship with a thrilling climax of hand-to-hand combat. Right before this there is neat little scene where Decatur has to punish the Gunner, who has AWOL because he was shanghaied to serving on the Esther. The punishment is 200 lashes, but the Gunner receives only two because Decatur counts them counts them as one hundred and two hundred.

"Old Ironsides" is close to be a really great action film. The first third where the Commodore learns to be a good seaman has several nice scenes, and the supporting cast of old tars is above average (Beery and Godfrey have fun stealing all of their scenes). However, the melodramatic middle third with the Esther's crew enslaved is average at best although the two principles are nice to look at. However, the film ends strongly with the climatic battle where "Old Ironsides" earns her name, even if historically that did not happen until the War of 1812. Boris Karloff has a bit part as a pirate and Olympic hero Duke Kahanamoku plays a Pirate Captain, while Gary Cooper is in this film somewhere as well if you want to spend time trying to spot him. This silent film is well worth seeing.

swashbuckling action
This classic from the silent movie era is great fun and an historically accurate romance/adventure about the battles against the Barbary pirates. There is plenty of action in what must have been one of the first films to depict a sea battle. And yet the scenes are very realistic in what it probably was like. The only literary license they took was when the cannonball bounced off the side which resulted in the USS CONSTITUTION being dubbed "Old Ironsides". That actually happened in a later war.

A Good Naval Yarn
Old Ironsides is a fine film dealing with the American Navy's fight against Barbary Coast pirates at the end of the 18th century. Its depiction of life on board ship, during this period, seems accurate, including details such as spreading sand on the deck during battle so that sailors wouldn't slip on the blood and gore. Moreover it uses a number of full-size sailing ships during these battles and these ships look completely authentic. The performances in the film are at times a little broad. This is especially the case with Wallace Beery and George Bancroft as hard fighting sailors. But these two are always fun to watch and a bit of over the top acting can be forgiven in an adventure film. Charles Farrell and Esther Ralston play the romantic leads. Ralston looks lovely but is somewhat passive and insipid. Her role is almost entirely decorative. Farrell is rather better but finds himself constantly overshadowed by Beery and Bancroft. The video box mentions Boris Karloff as being in the cast, implying that he has a major role. This is not so. He can just about be glimpsed as an Arab extra. Gary Cooper is also supposed to be among the extras, but I didn't notice him at all.

The print used on the Paramount video is very good, clear and sharp with hardly any apparent damage. The film is accompanied by a fine Gaylord Carter organ score. Old Ironsides is great fun with lots of stunning action. Those who enjoy sea battles between old sailing ships will not be disappointed. ... Read more