TCM's May schedule

[silentfilm]

I'm bumping this thread up, because TCM has some good silents this coming Sunday through Tuesday, including the premiere of Big Stakes and the Mary Pickford/Grifith Biograph short Ramona.

[boblipton]

Won't that interfere with people complaining about TCM's not programming silents?

Bob
(who is watching THUNDERBIRD SIX at the moment)

[Frederica]

Won't that interfere with people complaining about TCM's not programming silents?

Bob
(who is watching THUNDERBIRD SIX at the moment)

Oh ye of little faith! There are always the old standbys...TCM is not showing the film I want to see, or TCM is not showing the version of the film I want to see.

Fred

[radiotelefonia]

Won't that interfere with people complaining about TCM's not programming silents?

Bob
(who is watching THUNDERBIRD SIX at the moment)

Oh ye of little faith! There are always the old standbys...TCM is not showing the film I want to see, or TCM is not showing the version of the film I want to see.

Fred

The Latin American version of TCM is one of the most repugnant things ever invented and it should burn in hell.

[boblipton]

You're not watching enough Pauly Shore movies!

Bob

[silentfilm]

http://www.hispanicbusiness.com/enterta ... _films.htm

Professor Chon Noriega Hosting Latino-Focused Films Through May on TCM

April 30, 2209
Patricia Marroquin--HispanicBusiness.com

In May, as we celebrate Mexican heritage with Cinco de Mayo festivities, cable network Turner Classic Movies will air dozens of movies as part of a Latino-themed film festival, "Race and Hollywood: Latino Images in Film."

The month-long festival will be hosted by UCLA professor Chon Noriega, author of "Shot in America: Television, the State, and the Rise of Chicano Cinema," and TCM's Robert Osborne. Together they will explore how Hollywood has portrayed Latino characters and culture in film.

Forty films, spanning 1910 to 1996 and including four silent movies, will be shown on Tuesday and Thursday nights throughout the month, beginning on Cinco de Mayo. More than half of the films are from the so-called studio era, about 1929 to the 1960s.

"The festival brings nearly a century of Latino-themed films to a national audience," Noriega told HispanicBusiness.com. "Many of these films have not been seen widely since they were released. But collectively they offer an honest look at our cinematic history through Hollywood."

Each night's films will focus on a particular theme, such as border films, boxing films, social problems, youth and gangs, musicals, and families. Among the newer films included in the festival are "La Bamba" (1987), "The Milagro Beanfield War" (1988), "Stand and Deliver" (1988), "The Mambo Kings" (1992) and "Lone Star" (1996).

"For the first time, viewers can see a significant part of the historical record for how Hollywood has portrayed Latinos as the focus of a feature film, not just as incidental stereotypes," said Noriega, a professor in UCLA's Department of Film, Television and Digital Media.

Noriega, who is also Director of the UCLA Chicano Studies Research Center, developed a personal interest in Latinos in film when he was in college in the late 1980s. "I was a graduate student in 1987-88 when a series of Latino-themed and produced films were released by studios," he said. These included "La Bamba" and "Born in East L.A."

"There had never been anything like it," he said. "I started studying the press coverage as well as interviewing some of the producers. That led to my dissertation, which looked at the 20 years before, during which Chicano and other Latino filmmakers were trying to gain access to the industry."

Noriega considers "La Bamba" a breakthrough film. "It was the first box-office hit directed by a Latino filmmaker (Luis Valdez) and starring mostly Latino actors," he said. "But the film also marked a shift in Hollywood portrayals, away from social problems and toward a depiction of families as part of the American way of life."

For Noriega, the most influential Latino stars include legends Carmen Miranda, Ricardo Montalban, Rita Moreno and Anthony Quinn, in addition to recent stars Jimmy Smits, Edward James Olmos and Jennifer Lopez.

"It is rare for any actor to break through," he said, "but Latino actors have been much more limited in terms of the roles they have been able to play."

Noriega said there were challenges in assembling a Latino-themed film series.

"There are so few Hollywood films about Latinos," he said. "Certainly Latinos factor into action genres as what one scholar calls 'convenient villains,' but there have been relatively few films that focus on the Latino community as the setting for a story. ... So it was a challenge, but it was also a good reason to put together a festival."

When asked what he would like to see more of in Latino-themed film, Noriega told HispanicBusiness.com:

"Well, I would say Sci-Fi, but that is now covered by Alex Rivera's 'Sleep Dealer,' which is in theaters." During the 1990s there were a number of multi-generational family epics released, such as the Gregory Nava films "Mi Familia" and "Selena," he said. "These are important, but I think we need to see more range and balance in the portrayal of the Latino population. We need comedies, romances, action-adventure, sports films. What tends to happen, though, is that Latino-themed films are mostly social problem films."

Also, in some movies, the key roles are played by non-Latinos.

"Today we can laugh at some of the excesses," said Noriega, "like Spencer Tracy ('Tortilla Flat') or Robby Benson ('Walk Proud') in brown face, but we can also appreciate some of the breakthroughs along the way. It is important that we understand this history, where it comes from, and what is says about the present. The TCM festival gives viewers that opportunity."

[silentfilm]

http://www.monstersandcritics.com/small ... orld_War_I

Memorial Day Tribute: TCM remembers World War I
Smallscreen News
By April MacIntyre May 11, 2009, 15:49 GMT

Eli Paul, (L) Vice President of the National World War I Museum, will co-host the evening of classic films on TCM. Photo courtesy of TCM

TCM (Turner Classic Movies) remembers World War I with a special Memorial Day tribute hosted by Robert Osbourne.


Eli Paul, Vice President of the National World War I Museum, will co-host the evening of classic films on TCM.

The films highlighted are: Sergeant York (1941), The Dawn Patrol (1938), The Fighting 69th (1940) and The Big Parade (1925).

What began with a political assassination quickly escalated into a continent-wide conflict embroiling the globe’s most powerful nations.


“The war to end all wars,” as World War I was known at the time, was one of the most deadly wars in recorded history, with more than 15 million people killed.


This Memorial Day, as the 90th anniversary of the signing of the Treaty of Versailles approaches, Turner Classic Movies (TCM) will honor the soldiers who fought during the war with a special primetime showcase of five outstanding films.

The evening will be hosted by TCM’s Robert Osborne and National World War I Museum Vice President Eli Paul.


“World War I served as the setting for some truly great films, and we are proud to be able to present five such movies for Memorial Day,” said Charles Tabesh, senior vice president of programming for TCM. “We are also honored to have Eli Paul provide his expertise on the conflict and how Hollywood was able to capture the stories of its heroes for posterity. I’d like to personally thank Emmy and Peabody award-winning producer David Gerber who had originated the idea for the tribute and for introducing us to Mr. Paul and the amazing work of the National World War I Museum.”

Gerber’s credits include such acclaimed television projects as George Washington, The Lost Battalion, In the Heat of the Night and most recently Flight 93.


The following is the complete schedule for TCM’s Memorial Day (Monday, May 25) tribute to the heroes of World War I:

8 p.m. Sergeant York (1941) – Gary Cooper took home an Oscar® for his extraordinary performance in this true story of a young pacifist who is drafted into the service and becomes one of the war’s greatest heroes. Walter Brennan, Joan Leslie and June Lockhart co-star, with Howard Hawks directing.

10:30 p.m. The Dawn Patrol (1938) – Errol Flynn and David Niven play pilot buddies in France during the war in this tale of wartime camaraderie. Basil Rathbone co-stars as the rigid officer forced to send the young recruits into aerial dogfights.

12:30 a.m. The Fighting 69th (1940) – Extraordinary action, sentimental drama and a good dose of comedy make this one of James Cagney’s most memorable films. The exciting story, which follows the famed Irish regiment, also stars Pat O’Brien and George Brent.

2:15 a.m. The Big Parade (1925) – Considered to be among the best World War I films ever made, this epic silent film from director King Vidor stars John Gilbert as a clean-shaven soldier whose eyes are opened to the horrors of war. Renee Adoree and Hobart Bosworth co-star.

4:30 a.m. The Lost Patrol (1934) – John Ford directed this sterling account of a British military squad lost in the Mesopotamian desert and facing constant threat from the locals. Victor McLaglen takes the lead role that his brother, actor Cyril McLaglen, played in a 1929 silent version. Boris Karloff turns in an outstanding performance as a religious fanatic, and Max Steiner provides a memorable score.

In addition to its World War I tribute on Memorial Day, TCM will spend the weekend paying tribute to soldiers who put their lives on the line in the name of freedom. The following is a complete weekend schedule:

Saturday, May 23

6 a.m. Wings of the Navy (1939)

7:30 a.m. Air Force (1943)

9:45 a.m. Task Force (1949)

11:45 a.m. Flying Tigers (1942)

1:30 p.m. Back to Bataan (1945)

3:15 p.m. Pride of the Marines (1945)

5:30 p.m. They Were Expendable (1945)

8 p.m. Battleground (1949)

10:15 p.m. A Walk in the Sun (1946)

12:15 a.m. The Fighting Sullivans (1944)

2:15 a.m. Objective, Burma! (1945)

4:45 a.m. The Story of G.I. Joe (1945)

Sunday, May 24

6:45 a.m. Destination Tokyo (1943)

9 a.m. Submarine Command (1951)

10:30 a.m. We Dive at Dawn (1943)

12:15 p.m. Operation Crossbow (1965)

2:30 p.m. Where Eagles Dare (1969)

5:15 p.m. The Bridge on the River Kwai (1957)

8 p.m. Above and Beyond (1952)

10:15 p.m. The Dam Busters (1955)

12:30 a.m. A Sailor-Made Man (1921)

1:20 a.m. Shoulder Arms (1918)

2 a.m. Ballad of a Soldier (1959)

3:45 a.m. The Fighting Seabees (1944)

Monday, May 25

5:30 a.m. Action in the North (1943)

7:45 a.m. Sahara (1943)

9:30 a.m. Hell is for Heroes (1962)

11 a.m. Men of the Fighting Lady (1954)

12:30 p.m. The Devil’s Brigade (1968)

2:45 p.m. The Dirty Dozen (1967)

5:30 p.m. Kelly’s Heroes (1970)

8 p.m. TCM Remembers World War I – See schedule above.

[radiotelefonia]

http://www.hispanicbusiness.com/enterta ... _films.htm

Professor Chon Noriega Hosting Latino-Focused Films Through May on TCM

April 30, 2209
Patricia Marroquin--HispanicBusiness.com

In May, as we celebrate Mexican heritage with Cinco de Mayo festivities, cable network Turner Classic Movies will air dozens of movies as part of a Latino-themed film festival, "Race and Hollywood: Latino Images in Film."

The month-long festival will be hosted by UCLA professor Chon Noriega, author of "Shot in America: Television, the State, and the Rise of Chicano Cinema," and TCM's Robert Osborne. Together they will explore how Hollywood has portrayed Latino characters and culture in film.

Forty films, spanning 1910 to 1996 and including four silent movies, will be shown on Tuesday and Thursday nights throughout the month, beginning on Cinco de Mayo. More than half of the films are from the so-called studio era, about 1929 to the 1960s.

"The festival brings nearly a century of Latino-themed films to a national audience," Noriega told HispanicBusiness.com. "Many of these films have not been seen widely since they were released. But collectively they offer an honest look at our cinematic history through Hollywood."

Each night's films will focus on a particular theme, such as border films, boxing films, social problems, youth and gangs, musicals, and families. Among the newer films included in the festival are "La Bamba" (1987), "The Milagro Beanfield War" (1988), "Stand and Deliver" (1988), "The Mambo Kings" (1992) and "Lone Star" (1996).

"For the first time, viewers can see a significant part of the historical record for how Hollywood has portrayed Latinos as the focus of a feature film, not just as incidental stereotypes," said Noriega, a professor in UCLA's Department of Film, Television and Digital Media.

Noriega, who is also Director of the UCLA Chicano Studies Research Center, developed a personal interest in Latinos in film when he was in college in the late 1980s. "I was a graduate student in 1987-88 when a series of Latino-themed and produced films were released by studios," he said. These included "La Bamba" and "Born in East L.A."

"There had never been anything like it," he said. "I started studying the press coverage as well as interviewing some of the producers. That led to my dissertation, which looked at the 20 years before, during which Chicano and other Latino filmmakers were trying to gain access to the industry."

Noriega considers "La Bamba" a breakthrough film. "It was the first box-office hit directed by a Latino filmmaker (Luis Valdez) and starring mostly Latino actors," he said. "But the film also marked a shift in Hollywood portrayals, away from social problems and toward a depiction of families as part of the American way of life."

For Noriega, the most influential Latino stars include legends Carmen Miranda, Ricardo Montalban, Rita Moreno and Anthony Quinn, in addition to recent stars Jimmy Smits, Edward James Olmos and Jennifer Lopez.

"It is rare for any actor to break through," he said, "but Latino actors have been much more limited in terms of the roles they have been able to play."

Noriega said there were challenges in assembling a Latino-themed film series.

"There are so few Hollywood films about Latinos," he said. "Certainly Latinos factor into action genres as what one scholar calls 'convenient villains,' but there have been relatively few films that focus on the Latino community as the setting for a story. ... So it was a challenge, but it was also a good reason to put together a festival."

When asked what he would like to see more of in Latino-themed film, Noriega told HispanicBusiness.com:

"Well, I would say Sci-Fi, but that is now covered by Alex Rivera's 'Sleep Dealer,' which is in theaters." During the 1990s there were a number of multi-generational family epics released, such as the Gregory Nava films "Mi Familia" and "Selena," he said. "These are important, but I think we need to see more range and balance in the portrayal of the Latino population. We need comedies, romances, action-adventure, sports films. What tends to happen, though, is that Latino-themed films are mostly social problem films."

Also, in some movies, the key roles are played by non-Latinos.

"Today we can laugh at some of the excesses," said Noriega, "like Spencer Tracy ('Tortilla Flat') or Robby Benson ('Walk Proud') in brown face, but we can also appreciate some of the breakthroughs along the way. It is important that we understand this history, where it comes from, and what is says about the present. The TCM festival gives viewers that opportunity."

This article is NO good. The Festival is simply repugnant and display total incompetence.

There is not even a single mention of the Spanish language films produced by Hollywood, which I consider as an insult since Turner Broadcasting bought successful Spanish cable channels in order to pull them out of the air in order to put their lousy channels like their bastard and repugnant version of TCM for Latin America.

The selection is such an insult because an important part of the history of film has been, again and as usual, deliberately kept away from audiences. Latino images on film are not limited to Mexico (despite its large population) but also Spain, Cuba, Brazil, Argentina and all of the other countries that has contributed to that image.

Hollywood has produced, successfully, films in Spanish from 1929 to 1939. And the reason for which is production stopped has never been explained. With Carlos Gardel's death and José Mojica retirement from the United States, in 1935 the Spanish language film lost a lot of steam. And, at the same time, the Argentine film industry was emerging as a powerful force in Spanish language film, replacing Hollywood, and achieving a breakthrough with the release of BODAS DE SANGRE (1938), the first film that showed an industry not limited with domestic fare only. The Hollywood studios tried to reach to distribution agreements with Argentine producers but fortunately (and wisely) they all failed after they discovered that they only want to control them... in order to pull them away to give space to their English language production... and this policy still continues to this day and nobody is there denouncing it.

But we are going to discuss films produced in English, lets say that for the most part films that many films could have worked much better had they been shot in Spanish.

[Gagman 66]

My lone complaint is that THE BIG PARADE is on so late at night. I mean they haven't run it for 5 years. Good to see it's part of a Special World war One salute. I had not heard about that before. Even if it isn't the latest restoration. Most people will not have seen it before anyway.

[Harlett O'Dowd]

This article is NO good. The Festival is simply repugnant and display total incompetence.

There is not even a single mention of the Spanish language films produced by Hollywood, which I consider as an insult since Turner Broadcasting bought successful Spanish cable channels in order to pull them out of the air in order to put their lousy channels like their bastard and repugnant version of TCM for Latin America.

That's a very interesting point. Unfortunately, it appears the format for these festivals has been set in stone - and as a result, Spanish-language films don't fit into the same round hole as comfortably as asian-themed, gay themed and afican-american themed films.

the focuss of these festivals has been how (in this case) white actors portrayed latino characters and how difficult it was for latino actors themselves to break through into leading roles themselves - and what it took for the latino community to get Hollywood to drop many of the latino stereotypes along the way.

But you're right, it would be interesting to see the spanish-language versions of some Keaton or Laurel & Hardy films to compare and constrast with their english-language counterparts.

In regards to dramatic feautures, the most obvious choice would be the spanish-language DRACULA, but I don't know how difficult it would be for TCM to get the rights to air that.

What other early spanish-language versions of english-made Hollywood fims would help illustrate the spanish-speaking hollywood talent that languished in the spanish-language that anglo american audiences never got to (or bothered to) see?

[boblipton]

Well, the Spanish-language Deacula is definitely available. Last time I checked, it was on VHS and my local tape store has a copy.

Bob

[radiotelefonia]

This article is NO good. The Festival is simply repugnant and display total incompetence.

There is not even a single mention of the Spanish language films produced by Hollywood, which I consider as an insult since Turner Broadcasting bought successful Spanish cable channels in order to pull them out of the air in order to put their lousy channels like their bastard and repugnant version of TCM for Latin America.

That's a very interesting point. Unfortunately, it appears the format for these festivals has been set in stone - and as a result, Spanish-language films don't fit into the same round hole as comfortably as asian-themed, gay themed and afican-american themed films.

the focuss of these festivals has been how (in this case) white actors portrayed latino characters and how difficult it was for latino actors themselves to break through into leading roles themselves - and what it took for the latino community to get Hollywood to drop many of the latino stereotypes along the way.

But you're right, it would be interesting to see the spanish-language versions of some Keaton or Laurel & Hardy films to compare and constrast with their english-language counterparts.

In regards to dramatic feautures, the most obvious choice would be the spanish-language DRACULA, but I don't know how difficult it would be for TCM to get the rights to air that.

What other early spanish-language versions of english-made Hollywood fims would help illustrate the spanish-speaking hollywood talent that languished in the spanish-language that anglo american audiences never got to (or bothered to) see?

The Carlos Gardel films for Paramount are all available... and they are in the public domain.

Some of the José Mojica films for Fox are also around and I myself managed to capture a live stream of LA CRUZ Y LA ESPADA.

Although DRACULA is available, all of the Universal films in Spanish made and released previously were far more successful and much better received.

And there are non Hollywood films in which the studios were involved. Among them, from Argentina, RADIO BAR (Paramount), MATEO (Paramount) and LA FUGA (Warner Bros.).

[Harlett O'Dowd]

Well, the Spanish-language Deacula is definitely available. Last time I checked, it was on VHS and my local tape store has a copy.

Bob

I know it's available - but I don't know if TCM has the rights to broadcast it as it's a Universal film.

[rudyfan]

Having seen the Spanish language version of Laurel and Hardy's Chickens Come Home at a Cinecon many moons ago, that's not one I'd recommend. If for no other reason, the bizzare vaudeville act of Abdullah or Achmed (I cannot recall his name and, yes, I am too lazy to look it up) during the party. Not for the faint of heart or weak of stomach.

That said, the phonetic spanish of Laurel and Hardy was charming and you have to give them (and others) snaps for the effort.

[Danny Burk]

Well, the Spanish-language Deacula is definitely available. Last time I checked, it was on VHS and my local tape store has a copy.

Bob

I know it's available - but I don't know if TCM has the rights to broadcast it as it's a Universal film.

TCM has been airing a fair number of Universal-owned films; the number seems to have increased in the past year or so. Just a week ago, for example, there were first-time showings of KISS BEFORE THE MIRROR and BROKEN LULLABY.

[radiotelefonia]

Here are clips from EL REY DE LOS JITANOS (Fox Film Corporation, 1932), including the opening titles:

http://www.youtube.com/watch?v=9Ne-T-8wIVU

http://www.youtube.com/watch?v=RlZWpdJTLQo

If these clip is available, the entire film is deliberately shelved waiting to be unearthed.

But no.. the fascist attitude of an industry that want these films to be totally unaccessible and they are happily celebrating their obscurity.

[nsps]

Well, the Spanish-language Deacula is definitely available. Last time I checked, it was on VHS and my local tape store has a copy.

Bob

I know it's available - but I don't know if TCM has the rights to broadcast it as it's a Universal film.

TCM has been airing a fair number of Universal-owned films; the number seems to have increased in the past year or so. Just a week ago, for example, there were first-time showings of KISS BEFORE THE MIRROR and BROKEN LULLABY.

It's hard to judge without any of the details just what kind of rights package TCM purchased from Universal, and how many films/airings it includes.

[radiotelefonia]

TCM has ownership, now, of a big package of master tapes classic Argentine films.

They should show them... I consider an insult that they pulled away the RETRO channel, which was more successful than their repugnant and unwatchable Latin American version of TCM.

[Darren Nemeth]

Here are clips from EL REY DE LOS JITANOS (Fox Film Corporation, 1932), including the opening titles:

http://www.youtube.com/watch?v=9Ne-T-8wIVU

http://www.youtube.com/watch?v=RlZWpdJTLQo

If these clip is available, the entire film is deliberately shelved waiting to be unearthed.

But no.. the fascist attitude of an industry that want these films to be totally unaccessible and they are happily celebrating their obscurity.

The second clip is removed because of breach of TOS.

The first clip I enjoyed very much.

Please post more.

[radiotelefonia]

I had found those clips almost by accident. I do have my capture, from the Internet stream of Argentine television, of LA CRUZ Y LA ESPADA, but I'm thinking of deleting it from my computer because I lost signal for a few minutes.

A higher quality version of that film (from the simultaneous broadcast) has surfaced online for download.

[silentfilm]

I've got a 16mm print of the Spanish version of Laurel & Hardy's Laughing Gravy (1932). The Spanish title was Los Calaveras. It is not particularly funny (the third reel was cut from the American version), but fascinating for the way that they speak Spanish.

[radiotelefonia]

I've got a 16mm print of the Spanish version of Laurel & Hardy's Laughing Gravy (1932). The Spanish title was Los Calaveras. It is not particularly funny (the third reel was cut from the American version), but fascinating for the way that they speak Spanish.

I actually like LOS CALAVERAS; Epoca Videoediciones, in their website, offers it along with the other Spanish language versions, in either VHS or DVD-R editions.

You have no idea how well received were these Spanish language versions. The were a few article at the time trying ot explain the success of, for instance, VIDA NOCTURNA (BLOTTO).

In fact, Hal Roached took a risk with their following film, BRATS, when he decided not to produce it in Spanish. Yet, MGM decided to protect its product: it was exhibited alongside with Buster Keaton's DE FRENTE, MARCHEN! (DOUGHBOYS).

[silentfilm]

http://www.htrnews.com/article/20090528 ... 1984/MAN04

Movie highlights local composer

MANITOWOC — Garth Neustadter, a 2005 graduate of Manitowoc Lutheran High School who went on to study music at Lawrence University in Appleton, wrote an original film score for the 1923 silent film, "The White Sister," starring legendary actress Lillian Gish, for Turner Classic Movies.

The digitally remastered version of the movie with Neustadter's score will make its national premiere at 11 p.m. Sunday on the TCM network.

[silentfilm]

http://www.postcrescent.com/article/200 ... /905310573

Kara Patterson: Lawrence University student composes score for silent film
May 31, 2009

Lawrence University fourth-year student Garth Neustadter's versatility in the school's conservatory really came into play when Turner Classic Movies commissioned him to compose a score for a restored silent film.

Neustadter, 22, a violin and vocal music performance major from Manitowoc, also has studied piano and wind instruments. One of his initial forays into music composition led to first-prize honors in the 2007 Young Film Composers Competition.

As one of five finalists in the 2007 competition, which required entrants to score a silent film clip, Neustadter traveled to Los Angeles to shadow professionals in the film scoring business. There, he met contacts who helped land him the commission.

TCM restores several silent films per year that were popular in the heyday of their genre. The restoration process involves scoring the films, because most of them originally screened with the accompaniment of a live orchestra.

"They are looking for a new, modern score that still pays homage to the type of music that would be heard in that day," Neustadter said, adding that he submitted his musical score in recorded format to Warner Brothers, which synchronized the score with the picture.

Neustadter's 134-minute score is the soundtrack for the restored 1923 film "The White Sister," which premieres on TCM at 11 p.m. today.

Fred Sturm, Lawrence's director of jazz and improvisational music and Neustadter's mentor for the commission, said it was a privilege to hear the score evolve.

"It is so inspiring to see someone not even finished with his undergraduate degree to be able to do something like this," Sturm said. "How he associated the music or sound with what was on screen is extremely sophisticated."

For the paid commission Neustadter called upon what he'd learned as a student of multiple music disciplines.

To score what he says is the film's most dramatic moment – when the leading lady, thinking she is a wartime widow, takes vows to become a nun – Neustadter incorporated Gregorian chants that he recorded himself singing in Lawrence Memorial Chapel.

"I overdubbed my voice to make a 16-piece voice group," he said. "It might not be the biggest kind of action sequence but in some ways it's maybe the most musically profound, and I think people will pick up on that."

Neustadter also called upon Lawrence's conservatory to help record the bulk of the score. Through the recording process, about 20 student and faculty musicians sounded like an 80-piece orchestra, he said. He also layered his own violin tracks on top of one another to create an entire violin section.

"It was (TCM's) first (restored silent film) score that they produced outside of Los Angeles, so in that way it was really fun for all of us to have a part in putting this together," Neustadter said.

A volcanic eruption occurs in the film, but what intrigued Neustadter was composing for an onscreen traveling troupe of musicians.

"It's kind of rare in these silent films that you have actual musicians playing onscreen and of course there's no music to go along with that," he said. "I wanted to develop something where someone doesn't think twice that the musicians aren't playing what's onscreen."

The commission's biggest challenge, Neustadter said, was its deadline. He started work in early fall 2008 and hit the mark of finishing by early 2009.

Next academic year Neustadter, who will be a fifth-year student, hopes to show the film on and off campus. The History Museum at the Castle in downtown Appleton already has approached him about a possible screening, he said.

[FrankFay]

http://www.htrnews.com/article/20090528 ... 1984/MAN04

Movie highlights local composer

MANITOWOC — Garth Neustadter, a 2005 graduate of Manitowoc Lutheran High School who went on to study music at Lawrence University in Appleton, wrote an original film score for the 1923 silent film, "The White Sister," starring legendary actress Lillian Gish, for Turner Classic Movies.

The digitally remastered version of the movie with Neustadter's score will make its national premiere at 11 p.m. Sunday on the TCM network.

Oh My God, what a piece of cheese.

The picture certainly looks beautiful but every moment seemed an hour. It was very nice to see Gish dancing about at the beginning, but once she was kicked out of the house she put on her "Poor me" face and it stayed that way. (If she really looked that way at home I'd have kicked her out too). Her acting when she heard of Coleman's death- all that scrabbling about in the air- I just couldn't buy it. The score did not help- while not actively offensive it just seemed to slog along with few changes in tempo or volume.

Maybe it would work better in a theater with an audience, but to me I hope I never see it again.