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There are silent and sound features here, but it has to go SOMEPLACE, so we picked the SILENT forum. Anyway, the first five features for Capitolfest at the Capitol Theatre in Rome, NY, August 12-14, have been booked. They can be found here: http://www.romecapitol.com/capitolfest.html

Art Pierce
Capitol Theatre
Rome, NY

Edmund Lowe AND Norman Foster? Isn't that too much of a good thing?

FrankFay wrote:Edmund Lowe AND Norman Foster? Isn't that too much of a good thing?

Johnstown Flood - damn you!

Can't wait!

Very nice. Looking forward to all of these.

I wonder what the story is on John Cromwell and Edward Sutherland sharing director credit on CLOSE HARMONY?

dr.giraud wrote:Very nice. Looking forward to all of these.

I wonder what the story is on John Cromwell and Edward Sutherland sharing director credit on CLOSE HARMONY?

Quite a few Paramounts from 1929-30 have multiple director credits: A Dangerous Woman, The Dance of Life, Slightly Scarlet, The Light of Western Stars, The Border Legion, Grumpy, Follow Thru, The Santa Fe Trail, The Virtuous Sin, Only Saps Work, Along Came Youth and probably more.

-Harold

:shock:Wow! THE JOHNSTOWN FLOOD that is big! Does HE RETURN OF PETER GRIM survive? Or is this the only other Jaynet Gaynor silent that is still out there? Anyone know?

Gagman 66 wrote::shock:Wow! THE JOHNSTOWN FLOOD that is big! Does [bT]HE RETURN OF PETER GRIM[/b] survive? Or is this the only other Jaynet Gaynor silent that is still out there? Anyone know?

MoMA has a 16mm print of PETER GRIMM. Don't know of any 35mm prints.

Art Pierce

Gagman 66 wrote::shock:Wow! THE JOHNSTOWN FLOOD that is big! Does [bT]HE RETURN OF PETER GRIM[/b] survive? Or is this the only other Jaynet Gaynor silent that is still out there? Anyone know?

I think "Peter....." survives at MoMA in 16mm. I know one of her Universal short "Pep of the Lazy J" and "The Shamrock Handicap" exists as they were shown during the UCLA Centennial exhibition of her films.

LouieD,

I have the THE SHAMROCK HANDICAP (1926) it was shown on the old AMC in 1999 as part of the John Ford Festival. Not all that hard to find. She really isn't in the film a whole lot though. But THE RETURN OF PETER GRIM I wasn't so sure was still around. Good to learn that it is. Thanks.

I'll have to dig out The Shamrock Handicap again- all I recall is that Leslie Fenton was quite believably touching in it, in contrast to his usual characters (weak-willed addict OR Criminal- OR Criminal with Heart Of Gold)

THE BLUE EAGLE (Fox, 1926) was shown as part of that same AMC festival. LoC has it in 35mm, though it's not complete and at least half of it is in pretty rough shape.

Art Pierce

romecapitol wrote:THE BLUE EAGLE (Fox, 1926) was shown as part of that same AMC festival. LoC has it in 35mm, though it's not complete and at least half of it is in pretty rough shape.

Art Pierce

It needed a lot of new text intertitles to make the storyline comprehensible.

I highly recommend A HOUSE DIVIDED, an unexpectedly powerful film with two jaw-dropping stunts and by far the best William Wyler-directed film Lon Chaney was never in. Walter Huston was in danger of being type-cast as he followed this gem with KONGO; both films have very similar lead character traits. And Helen Chandler is actually good also.
I SO envy you all who will get an opportunity to see this in 35mm. I will have to make do with my 16mm.

To be fair, Huston was the one who originated the lead role in KONGO on the Broadway stage!

"I wonder what the story is on John Cromwell and Edward Sutherland sharing director credit on CLOSE HARMONY?"


A lot of early talkies are billed this way. John Cromwell was fresh from the New York stage and was assigned to handle the dialogue for poor Eddie Sutherland who had only been in the film industry since the early teens. Even the great John Ford had to share directorial honors with one Andrew Bennison on "Born Reckless" (1930).

Bennison had worked with Ford on "Men Without Women"(1930), in the same capacity, but was only given credit (curiously since it had never been a stage play) as "stage director".

George O'Brien wrote:"I wonder what the story is on John Cromwell and Edward Sutherland sharing director credit on CLOSE HARMONY?"


A lot of early talkies are billed this way. John Cromwell was fresh from the New York stage and was assigned to handle the dialogue for poor Eddie Sutherland who had only been in the film industry since the early teens. Even the great John Ford had to share directorial honors with one Andrew Bennison on "Born Reckless" (1930).

Bennison had worked with Ford on "Men Without Women"(1930), in the same capacity, but was only given credit (curiously since it had never been a stage play) as "stage director".

I should have guessed that. It was the fact it was Sutherland--as you aptly underlined--that threw me.

The Johnstown Flood was a new print when I ran it in 1996.
The Blue Eagle was a year later.
Restoration notes at
http://www.loc.gov/loc/lcib/0007/restoration.html

Dennis

Eastman Film House has Janet Gaynor's, The Johnstown Flood, Carolina and Pep of the Lady J. UCLA has The First Year, Servants Entrance, Tess of the Storm Country, Fade Away Foster and Stolen Ranch.

Some new updates, also announced PEP OF THE LAZY 'J', SUNRISE and GLORIFYING THE AMERICAN GIRL. We've also got information about hotels and discounts in the area up on the website now:

http://www.romecapitol.com/capitolfest.html

I know a lot of you know GLORIFYING's reputation as a dud, but I have a feeling seeing the UCLA restoration (with the Technicolor scenes) with an enthusiastic audience might make this one go a lot farther than the usual bootleg copies that are floating around out there.

Also, while SUNRISE isn't necessarily rare or unseen, we thought that putting one warhorse in the Friday slot would be a nice opportunity to run something that is popular, but doesn't get to be shown in this sort of setting regularly. Being on our new Friday afternoon session, those of you who can't make it on Friday won't be missing something you couldn't see anywhere else.

Jack Theakston wrote: Being on our new Friday afternoon session, those of you who can't make it on Friday won't be missing something you couldn't see anywhere else.

New Friday afternoon session?

Yes--the first session will be Friday from 1 to about 5, giving us a somewhat prolonged dinner break until the 7 pm session. (We're looking at the possibility of having an optional dinner thing at the Elks Club.) All the movies will be at the Capitol this year.

Art Pierce
Capitol Theatre
Rome, NY
www.romecapitol.com

Have just added the Karl Dane-George K. Arthur feature ROOKIES (M-G-M, 1927) to the line-up. (Their first teaming and, judging by period reviews, maybe their best film.) It'll be accompanied by Bernie Anderson on the organ. (The schedule to date can be found here: http://www.romecapitol.com/capitolfest.html)

Art Pierce
Capitol Theatre
Rome, NY

Also announced recently— the 1945 El Brendel/Harry Langdon short SNOOPER SERVICE, SERVANT'S ENTRANCE (1934) with Janet Gaynor, and HAROLD TEEN (1928) with Arthur Lake and Mary Brian.

Avery Tunningley will be performing for HAROLD TEEN and will be basing his score around James Bradford's cue sheet.

Jack Theakston wrote:Also announced recently— the 1945 El Brendel/Harry Langdon short SNOOPER SERVICE, SERVANT'S ENTRANCE (1934) with Janet Gaynor, and HAROLD TEEN (1928) with Arthur Lake and Mary Brian.

Avery Tunningley will be performing for HAROLD TEEN and will be basing his score around James Bradford's cue sheet.

HAROLD TEEN is great fun -- don't miss it!

~Roger

Another title added: NORTH OF 36 (Paramount, 1924) directed by Irvin Willat and starring Jack Holt, Ernest Torrence, Lois Wilson, and Noah Berry. It'll be accompanied by Dr. Philip Carli on the theater organ. (35mm print.)

--Art Pierce

OK, Isn't this another Zane Gray Paramount Western? I was not even aware that a print still existed. So very good news. Correct me if I am wrong, but it seems like there are allot more Lois Wilson films surviving, than there are Colleen Moore titles???

I couldn't answer what Lois Wilson's survival percentage is, partly because I have little data on her time at Universal and Paralta/W. W. Hodkinson in the late 10s and her freelance period in the late 20s, but of her Famous Players-Lasky output at least 17 or 18 survive (many, in fact, at Gosfilmofond). If she has a larger raw number of extant silents than Colleen Moore, it's for one simple reason: she made many more films. Lois appeared in 87 features from 1916-29; Colleen made only 54 in the same period. And Lois was much more active in the 30s, so she'll have dozens more surviving films from then as well.

-Harold

Harold,

OK, but that still doesn't explain why COME ON OVER, APRIL SHOWERS, THE HUNTRESS, FLAMING YOUTH, SO BIG, SALLY, THE DESERT FLOWER, WE MODERNS, IT MUST BE LOVE, NAUGHTY, BUT NICE, HAPPINESS AHEAD, OH KAY, FOOTLIGHTS AND FOOLS, and SMILING IRISH EYES are all apparently gone. What ever might have been in New-Zealand, that apparently is gone now too. Especially, if Colleen gave all of these films to The Museum Of Modern Art for safe keeping back in the early 60's. What a sad story. The relatively few titles that do survive, aren't really generally available either. What is more, the fate of SYNTHETIC SIN and WHY BE GOOD? remains very much up in the air at this time. At least until we know otherwise that something is actually being done to get these films on something other than Nitrate.

Gagman 66 wrote:Harold,

OK, but that still doesn't explain why COME ON OVER, APRIL SHOWERS, THE HUNTRESS, FLAMING YOUTH, SO BIG, SALLY, THE DESERT FLOWER, WE MODERNS, IT MUST BE LOVE, NAUGHTY, BUT NICE, HAPPINESS AHEAD, OH KAY, FOOTLIGHTS AND FOOLS, and SMILING IRISH EYES are all apparently gone. What ever might have been in New-Zealand, that apparently is gone now too. Especially, if Colleen gave all of these films to The Museum Of Modern Art for safe keeping back in the early 60's. What a sad story. The relatively few titles that do survive, aren't really generally available either.

Woah! So it appears that El Brendel has more surviving features than Colleen Moore. There IS justice in the universe after all!