Posted by Susan Doll on November 10, 2014
As part of TCM’s series Silent Stars, Rudolph Valentino sets the small screen on fire tonight with his star-making performance in The Sheik (1921). Though Valentino had created a stir when he danced the Argentine tango in The Four Horseman of the Apocalypse, it was The Sheik that propelled him to superstardom. Over the next five years, Valentino would magnify his celebrity by taking on roles that exploited his sensual, exotic Latin Lover image and by exposing his colorful romantic life to the fanzines.
Valentino’s screen persona would be out of place in today’s Hollywood, where interchangeable young actors show off their buff bodies and blond highlights while tossing out snarky one-liners. Valentino’s slightly feminine face and smooth body are unusual physical traits for a leading man, while his nostril-flaring, eye-bulging acting are unfashionably melodramatic. Yet, despite his dated persona and acting style, there is much to appreciate in Valentino’s films. They are imaginative, highly romantic fantasies that evoke colorful, exotic places or eras that never really existed. And, Valentino was undeniably charismatic and energetic—a perfect combination for the silent screen. A few years ago, I was fortunate to catch Valentino on the big screen in The Eagle, the story of Russian soldier Vladimir Dubrovsky. The film opens with Dubrovsky on horseback dressed in full Russian regalia while inspecting his troops. His queen, Catherine the Great, tries to seduce him, but he refuses her advances, resulting in his banishment from the castle. Details such as Catherine the Great, a castle, soldiers on horseback, and Valentino in a cape and uniform suggested to me—and the rest of the audience—that the story takes place in the distant past. Imagine our surprise when Valentino drives away from the castle in a fancy 1920s automobile. The audience burst out laughing at the incongruity, but this type of mismatching of exotic styles and historic eras is typical of Valentino’s films, where Romance with a capital R trumps accuracy.
To set the stage for Valentino’s signature, career-making role, I offer ten facts about The Sheik, which airs at 8:00pm tonight.
Posted by Kimberly Lindbergs on October 10, 2014
Lon Chaney in HE WHO GETS SLAPPED (1924)
Last night FX premiered the new season of AMERICAN HORROR STORY. The award-winning horror anthology’s latest incarnation is called FREAK SHOW and it’s set in Florida during the 1950s at a circus sideshow where strange goings-on take place in and outside of the Big Top. The show’s creators, Ryan Murphy and Brad Falchuck, have admitted in recent interviews that they found inspiration for the new season in two classic horror films, Tod Browning’s FREAKS (1932) and Herk Harvey’s CARNIVAL OF SOULS (1962) but circuses and carnivals have long been a staple of horror cinema and director Tod Browning used the sideshow as a setting for numerous uncanny films before he made FREAKS. With Shocktober upon us it seems as good a time as any to showcase some of my favorite horrific or just plain odd and unusual films with scary clowns and sideshow performers that paved the way for AMERICAN HORROR STORY: FREAK SHOW. So step right up ladies and gents! Tickets are free for today’s main attraction! Thrills, chills and rare delights await all who dare to enter!
Posted by Susan Doll on October 6, 2014
Last week, the Cinematheque Francaise announced that it had uncovered a copy of Sherlock Holmes, which was ranked “among the Holy Grails of lost films,” according to restoration expert Robert Byrne, who is also on the board of the San Francisco Silent Film Festival.
Essanay Studios released Sherlock Holmes in 1916. In their soon-to-be-published Flickering Empire: How Chicago Invented the U.S. Film Industry, Michael Smith and Adam Selzer noted that the seven-reel film was the first feature-length version of Holmes’s exploits. It was also one of the last significant productions of Essanay’s Chicago-based studio before it closed its doors. But, the film’s real importance is its star, William Gillette, a prominent actor and playwright who was renowned on two continents during the first decades of the 20th century.
I have always been fascinated by forgotten stars—actors and entertainers who were beloved back in their day but who are now completely unknown. Sometimes, their careers lasted for decades; often they counted kings, queens, and presidents among their admirers. Yet, their talents go unsung to today’s audiences; their influences unrecognized. William Gillette was not only an acclaimed actor but also a playwright and stage manager whose fame rested on his interpretation of Sherlock Holmes on the stage. [...MORE]
Posted by Susan Doll on September 29, 2014
Next Monday, October 6, TCM presents an evening of early American animation, a must-see for cartoon fans of all ages. The line-up begins with the cartoons of Winsor McCay, followed by animation from two companies lost to the history books, the Bray Studio and the Van Beuren Studios. At 12:15 am, Lotte Reiniger’s unique Adventures of Prince Achmed airs, followed by the 1939 version of Gulliver’s Travels and the Japanese feature Magic Boy. Chuck Jones’s beloved Phantom Tollbooth concludes the evening’s entertainment, which has been dubbed “Back to the Drawing Board” by TCM. Of the vast array of styles and stories represented in this selection of pre-classic animation, I am most excited to see the work of the Bray Studios and Prince Achmed by Reiniger (above).
Posted by Susan Doll on May 12, 2014
While Chaplin and Keaton remain the giants of silent comedy to modern-day movie lovers, Harold Lloyd was the most popular film comedian and the biggest box-office draw during the 1920s. His movies out-grossed Keaton’s comedies, and after Chaplin began to fret over his features, Lloyd out-produced the Little Tramp. In 1927, Lloyd was the only performer on Variety’s list of the top 20 wealthiest people in show business (see An Evening’s Entertainment: The Age of the Silent Feature Picture by Richard Koszarski.) Having seen many of his feature films, including Safety Last, Speedy, Girl Shy, and The Freshman, I can understand his appeal. Youthful, optimistic, and persevering, Lloyd’s so-called “glass” or “glasses” character suited a decade in which Americans sought to better themselves economically, acquire consumer goods, and partake of the American Dream. Lloyd’s comic persona, who was always called Harold in his films, was not disenfranchised like Chaplin’s Little Tramp nor a misfit like Keaton’s Great Stone Face. Instead, he was akin to the hapless boy next door who worked hard to get ahead and win the hand of the girl. Even his costume was “normal” in that it was purchased off the rack and not an exaggerated ensemble from the costume department of Hal Roach’s studio.
Posted by Susan Doll on December 2, 2013
This past August, two new biographies about the silent era’s most glamorous star were published, Gloria Swanson: Ready for Her Close-Up by Trish Welsch and Gloria Swanson: The Ultimate Star by Stephen Michael Shearer and Jeanine Basinger. Both are profiled on the Books page of the TCM website. I breezed through both of them, looking for info on my favorite Swanson flick, Stage Struck.
If the title doesn’t sound familiar, it’s because Stage Struck doesn’t have the reputation of those romantic melodramas that Swanson made for Cecil B. De Mille—Male and Female, Why Change Your Wife, Don’t Change Your Husband, etc. Also, the film has never been released for home viewing, not even in the good ole bad VHS days. Years ago, I checked out a poor VHS copy from the public library in New Martinsville, West Virginia. The librarian recommended it because Stage Struck had been shot in New Martinsville in 1925. Local resident R. Bryan Wilson had tracked down a 16mm print and paid for a videotape copy for the library so that residents would have an opportunity to see it.
Posted by R. Emmet Sweeney on November 5, 2013
In the third quarter of 2013, Netflix’s streaming service passed HBO in its number of subscribers, reaching 31.1 million. Buoyed by the success of its original series, as well as exclusive “season-after” deals on shows like The Walking Dead, the streaming business continues to grow exponentially. In comparison, the company’s original DVD-by-mail operation has become an afterthought. Only 7.1 million still receive those red envelopes, less than half of DVD subscribers from just a few years ago, and the company has been shutting down distribution centers in response (down to 39 from a high of 58). While CEO Reed Hastings pays lip service to the importance of physical media, all of its actions indicate that Netflix DVD-by-mail is close to extinction (for more, read this article by Janko Roettgers). These are distressing times for movie lovers, as each technical innovation paradoxically makes it more difficult to view the vast majority of film history. With higher resolutions come higher print standards for transfers, and so many original negatives no longer exist from Hollywood’s early days. This leads to the recycling of established classics with HD-ready material, while the unlucky unacknowledged get kicked into the analog dustbin of history. A once-totemic figure like Frank Borzage, who was honored in a Fox box set in the long-ago year of 2008, has no titles streaming on Netflix. But for years the Fox discs have been available to rent from Netflix. As one of the 7.1 million still renting physical media from Netflix, I took advantage and watched 7th Heaven for the first time.
Posted by R. Emmet Sweeney on September 24, 2013
In 2009 The New Zealand Project was initiated, a collaboration between the New Zealand Film Archive, the National Film Preservation Foundation and private collectors to preserve and distribute American films housed in the NZFA’s vaults. They had stacks of American nitrate prints that had gone untouched for years, since the NZFA had focused their efforts on preserving their local film history. In 2010 nitrate experts Leslie Lewis and Brian Meacham were sent to investigate their holdings and assess which titles were most in need of help. What they discovered was astonishing, a cache of presumably “lost” films, including John Ford’s Upstream and the first three reels of The White Shadow, for which Alfred Hitchcock was the assistant director, editor, scenarist and art director. In total 176 films were shipped to the U.S. for preservation. Many of these rescued titles are streaming on the National Film Preservation Foundation website, and today the NFPF released a DVD with some highlights of this trove. “Lost and Found: American Treasures From the New Zealand Film Archive” includes the Ford and Hitchcock features, as well as a selection of shorts and newsreels that haven’t been seen since their original release over 90 years ago. TCM will air a selection of these titles on November 17th and 24th.
Posted by David Kalat on September 21, 2013
From September and on for the next several months, on Mondays and Tuesdays TCM is airing a sprawling and ambitious multipart documentary called The Story of Film. As you have may have sussed out by now, this is a somewhat controversial program–in large measure because of its rather jaundiced view of classical Hollywood genre filmmaking. For an audience that watches TCM regularly, and finds leisure time to visit a TCM-sponsored classic movie blog like this, Story of Film‘s stance isn’t likely to find many happy supporters.
That being said, there’s a lot about Hollywood genres that is worth revisiting, challenging, and interrogating. There is too much received wisdom that has calcified around certain subjects, creating preconceptions that get in the way of being able to engage with these films in a fresh and clear-eyed way. And so, seen from that perspective, creator Mark Cousins’ approach represents an opportunity to explode some unhelpful conventional wisdom…
When it comes to silent comedy, though, he blows past that opportunity, managing to be simultaneously vaguely hostile to Hollywood’s classic era while also being uncritical about what it meant. Here’s what he says about silent comedy in the book version of Story of Film: “Silent American cinema’s greatest genre, comedy, had changed course at the beginning of the sound era and the fates of its director-stars were varied.” Yup, there it is again–that old canard about silent comedy being distinct from talkie comedy, and superior–treating 1928 as some kind of Rubicon.
Posted by R. Emmet Sweeney on September 17, 2013
It’s hard to conceive of Howard Hawks without sound. His films are focused on work and its downtime, and it is in spurts of chatter in which his characters define themselves. As physical as their occupations may be, it’s always their words that reveal their true selves. Which is why watching Hawks’ silent films are so disorienting. The Museum of the Moving Image is in the midst of a full retrospective of Hawks’ work, and this past weekend they screened many of his silents, including A Girl in Every Port (1928), which manages to set up many of the director’s pet themes before the arrival of sound allowed his talents to fully emerge.
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