The New 2018 Gallery of Color Transfers

Here is the latest roundup of color transfers taken from vintage black & white photographs by your blogmeister. Enjoy!

Lon Chaney poses in a gift chair given to him by the crew of HE WHO GETS SLAPPED (1924), which was the first film produced by the then-newly formed MGM. The chair and the commemorative backing still exists:

Dolores Costello does her bit to publicize the construction of Warner Bros. new theater in Los Angeles circa 1928:

In one of his more unusual roles, Humphrey Bogart plays a Mexican bandit in VIRGINIA CITY (1940). On the left is Randolph Scott, on the right is George Regas:

W.C. Fields in one of his rare silent films, IT’S THE OLD ARMY GAME (1926) recently released on Blu-ray:

A very young Joan Crawford in the lost film, DREAM OF LOVE (1928):

Monty Woolley confers with Al Jolson as they prepare for a radio broadcast on the Colgate Show in 1943:

The ill-fated Olive Thomas circa 1920:

Pola Negri in BELLA DONNA (1923):

Stan Laurel and Oliver Hardy in one of their last silent films, WRONG AGAIN (1929):

High up on the roof of the Paris Opera House Lon Chaney’s Phantom dressed as the Masque of Red Death spies on the lovers Norman Kerry and Mary Philbin. The film of course is THE PHANTOM OF THE OPERA (1925):

Director Sam Taylor welcomes Camilla Horn (left) and Lupe Velez on the set of TEMPEST (1928):

Vintage Glass Slides Celebrate Classic Horror Films + An Interview with Colin Clive!

Halloween 2015 gives us a good reason to take a fresh look at some of the greatest horror film classics ever made. But not by viewing the familiar artwork found in vintage posters and lobby cards. Instead we have found several rarely-seen and extremely fragile glass slides that were projected onto movie screens over 80 and 90 years ago. Let’s begin the tour.

DR. JEKYLL AND MR. HYDE (1920) is often credited as the first American horror film. Although filmed many times beginning in 1911, this 1920 silent film version starring John Barrymore in his “breakthrough” movie performance is generally regarded as the best film version. This takes nothing away from at least two excellent sound film versions made in 1931 and 1941. The 1920 version is readily available today on Blu-ray, DVD, and streaming video:
Jeykyll Hyde slide

Before Lon Chaney frightened audiences in THE HUNCHBACK OF NOTRE DAME (1923), the Man of 1,000 Faces created chills in this 1922 film, which alas, is lost:
Chaney A Blind Bargain

Decades before JURASSIC PARK let loose an army of angry dinosaurs, movie audiences were awed by living prehistoric creatures in THE LOST WORLD (1925). Based on the popular novel by Sir Arthur Conan Doyle, this film is available on DVD:
Lost World copy_edited-Final

Lon Chaney scored a huge hit with one of the most memorable films of all time. New generations today find THE PHANTOM OF THE OPERA (1925) is still a potent brew. The enduring popularity of the Chaney film has resulted in this PHANTOM being available on Blu-ray as well as DVD. We are also lucky to have TWO glass slides for this classic:
Phantom slide_edited-Final
Phantom_edited-1 copy

Chaney Sr. did not rest on his laurels with PHANTOM, but followed it up with edgy dramas such as THE ROAD TO MANDALAY (1926), which only partially exists today:
Road to Mandalay 1

American horror films didn’t become established until the talkie era with DRACULA and FRANKENSTEIN, both released in 1931. A lesser-known film released in 1932 is THE WHITE ZOMBIE starring Count Dracula himself, Bela Lugosi. This low-budget film has grown in stature through the years and today is considered a classic. As a sign of its stature, ZOMBIE is available on DVD and even Blu-ray:
White Zombie

One of the best of the early 1930s horror classics is THE INVISIBLE MAN (1933), based on a novel by H.G. Wells, and starring Claude Rains in his first film. The romantic lead was Gloria Stuart who 60 years later appeared in TITANIC (1997):
Invisible Man Final

1933 was a banner years for classic films and horror movies were no exception. In addition to THE INVISIBLE MAN, the public was treated to KING KONG:
KING KONG

The public barely had time to catch its collective breath when later in 1933 the sequel to KONG was released. While not as good as the original, SON OF KONG is enjoyable on its own terms:
Son of Kong Glass Slide

Another early horror talkie that has grown in stature is THE BLACK ROOM (1935) starring the Frankenstein monster himself, Boris Karloff. And yes, it’s available on DVD:
The Black Room 1935 copy

It was only a matter of time before those Twin Princes of Horror Films, Boris Karloff and Bela Lugosi, were co-starred. THE RAVEN (1935) is the second of several successful films from the Karloff-Lugosi team and, yes, is on DVD:
Raven Final

Is there a consensus on one classic horror film that is considered the best ever made? Well, if there is, that film would be the sequel to FRANKENSTEIN (1931). Filmed under the working title of THE RETURN OF FRANKENSTEIN, this stunning film would be known to the world as THE BRIDE OF FRANKENSTEIN (1935). Of course, this one is available on Blu-ray and DVD:
Bride_Final

British actor Colin Clive played Dr. Henry Frankenstein in those first two films of the series, FRANKENSTEIN (1931) and THE BRIDE OF FRANKENSTEIN (1935). Here is a candid of Colin Clive and Valerie Hobson on the Universal backlot in January 1935 during the filming of BRIDE:
Clive_ Hobson-copy_Final

Colin Clive was regarded as a gifted actor but a troubled individual. He passed away in 1937 following years of alcohol abuse complicated by tuberculosis. Typical of many actors of that time, Mr. Clive was unhappy with his being cast in these so-called “horror films.” But unlike other actors, he had no hesitation to go public with his concerns. Here is a rare interview with the man that many consider to be the definitive Dr. Frankenstein:
Clive Interview

HAPPY HALLOWEEN!

London After Midnight – The Original 1927 Continuity Script

Chaney London Final_edited-1
Who knew that all these years the Library of Congress in Washington, D.C. held a shot-by-shot cutting continuity made from viewing an actual print of LONDON AFTER MIDNIGHT? This Lon Chaney Sr. vampire tale is perhaps the most famous – and most eagerly sought – lost silent film. The last known print was destroyed in a vault fire in 1967, and intensive searching of the world’s film archives has so far failed to locate another print.

But now you can “see” LONDON AFTER MIDNIGHT simply by reading this 38-page document (it’s a quick read) and using an average amount of your imagination. We are supplying you with a series of photos and lobby cards below to assist you. Enjoy!
Click here:
London After Midnight LOC Script copy

Chaney3
Lon Chaney plays Professor Burke, a detective/hypnotist who is investigating the “suicide” of Roger Balfour:
London 4
There are strange goings-on in the old Bafour Mansion, and some mighty strange creatures too:
London 2
A curious inhabitant seems to have supernatural powers:
Chaney Midnight_Final
Burke questions the various suspects and uses hypnotism too:
London 5
Looks like it’s going to be a long night at the Balfour Mansion:
London 8
London 1
London 6
Burke eventually proves that Bafour’s death was murder and collars the killer:
London 3a
But what about those strange creatures? We suggest you read the script if you’re not able to see the movie!
london novel old 2

Golden Age Stars and Their Dogs

Film stars with their pets have always attracted attention and it’s rare that a major celebrity of the screen would decline an opportunity to pose with a four-legged friend. Sometimes the pet was as famous as the pet parent. Here are a galaxy of vintage stars from the Golden Age of Hollywood who seem only too happy to be upstaged.

First, Anna May Wong shows off her dachshund circa 1938:
ANNA MAY WONG w Dacshund_Final

Buster Keaton wants to be sure he can always find his canine pal circa 1930:
Buster Keaton and his Dog_Final_edited-1

John Barrymore shared some inspired comic moments with this St. Bernard at the beginning of MOBY DICK (1930):
Moby Dick 1930 Barrymore and Dog_Final_Final

Bette Davis seems entranced by this dog as she waits between filming scenes circa 1937:
Bette Davis and Dog_Final

Douglas Fairbanks Sr.evidently considers this German Shepherd his equal, circa 1920:
douglas-fairbanks-and-dog Final

W.C. Fields famously observed that “any man who hates kids and dogs can’t be all bad” but he got along nicely with his co-star in IT’S A GIFT (1934):
WC Fields and Dog_Final_Final

Jean Harlow with one of her many dogs, circa 1935:
Jean Harlow w Dog

Rudolph Valentino inspired much grieving with his untimely death in August 1926. But none grieved more than his dog who was adopted by Rudy’s brother, Alberto. Regardless, the dog pined away for his master until his own passing some years later:
Rudolph Valentino and his Dog-Final

Warner Oland, famous as Charlie Chan, doted on his schnauzer Raggedy Ann and was a proud papa when she had this litter:
Oland and Raggety Ann Final

Star meets Star: Al Jolson meets Rin Tin Tin on the Warner Bros. lot in 1928:
Al and Rinty 1928_edited-Final

Carole Lombard and friend in 1932:
Carole Lombard and Dog 1932_edited-Final

Soviet director Sergei Eisenstein wants to chat with Rin Tin Tin during his 1929 visit to the United States:
Rinty and Eisenstein 1929_Final

George Arliss seems perplexed as he juggles his wife’s dog and business papers, circa 1925:
George Arliss and his wife's Dog_edited-Final - Copy

Finally, a poignant photo commemorating the passing of Lon Chaney, the Man of 1,000 Faces, who left us much too soon in 1930 at the age of 47. The photo shows two of Lon’s most precious possessions – his makeup case and his dog:
Lon Chaney's Dog_edited-Final Final

Your Official 2014 Old Hollywood in Color Calendar Collection!

Start the New Year off right with a gift from OLD HOLLYWOOD IN COLOR. Take your pick from any of these – or all of ’em. Simply download and print out just as you would do with a photo. If you prefer a larger size or higher quality than home printers can provide, let me suggest that you copy the image to a thumb drive and take it to you local digital print retailer such as Kinko’s. With this in mind, let’s tour the 2014 collection.

Stan Laurel and Oliver Hardy, with Jean Harlow, in one of their last silent films LIBERTY (1929):
Laurel and Hardy Calendar Final

La Swanson, Gloria that is, in ZAZA (1923):
Gloria Swanson Calendar

Ronald Colman in a fan photo circa 1929:
Ronald Colman Calendar_Final

Buster Keaton circa 1930:
Buster Keaton calendar Final

Clara Bow, who was dubbed “The It Girl,” meaning that she had “it.” Circa 1928:
Clara Bow Calender Final_edited-1

A debonair-looking Al Jolson in 1935:
Al jolson calendar

Greta Garbo with Nils Asther in WILD ORCHIDS (1929), one of her last silents:
Garbo Calendar

Mary Astor in ROSE OF THE GOLDEN WEST (1927):
Mary Astor Calendar 2014_Final

A calendar from a 1934 UK movie magazine highlighting Conrad Veidt:
Conrad Veidt Calendar_Final_edited-2 copy

Jean Harlow with Clark Gable in RED DUST (1932):
Jean Harlow Calendar

Lon Chaney Sr. as himself and as his character in THE MIRACLE MAN (1919), a lost film:
Lon Chaney Calendar

Rin Tin Tin and his mate Nanette in HERO OF THE BIG SNOWS (1926), another lost film:
Rin Tin Tin Calendar

King Kong006 copy_New Year

Old Hollywood in 3D Color

This site was established almost two years ago and dedicated to transforming old b/w photos of Old Hollywood into color by using modern software. Now we’re ready to take the next step by adding computer-generated 3D to our color transfers. Last month we inaugurated this process on our sister site, ArlissArchives.com by unveiling the first-ever 3D images of George Arliss. Similar to the extremely limited use of color photography in Old Hollywood, unfortunately the studios of that era also did not participate in the popularity of 3D or stereoscopic photography. That task is bequeathed to us in the 21st century. Today there are several different 3D processes but here we are using an original low-tech version that dates back to the 19th century. It is based on an optical illusion to trick our brain into believing it is seeing an object from two slightly different perspectives, hence the illusion of depth perception. Let’s start off with a very chic Myrna Loy circa 1935:
Myrna Loy New 3D_edited-1

If you see only two identical images of Myrna and no 3D effect, then you either need to use a viewer device or learn the simple knack of “free viewing.” The easiest way to obtain a viewer is to find one of the many books on old stereoscopic slides because these volumes include a simple fold-up plastic or cardboard viewer. Check your public library. Your blogmeister dispenses with using viewers (the “training wheels” of 3D) and relies on the technique of free viewing using only, pardon the expression, my naked eyes. Let’s give the 3D treatment to Rudolph Valentino in MONSIEUR BEAUCAIRE (1924):
Rudy Beaucaire 2 New 3D_edited-1

To try free viewing, you need to guide each eye to focus on only one of the two images: the right eye on the right image, the left eye on the left image. At first your eyes won’t cooperate so by using the edge of your hand extended from your forehead to the tip of your nose, your hand will block the right eye from seeing the left image and vice versa with the left eye. A piece of cardboard or a business envelope will work as well as your hand. The next step is to relax and look “through” the images and you will notice (with a little patience) that the images start moving together to form one image. Once they fully merge you’re in 3D. Try it with Myrna and Rudy (each should line up easily) or give Strongheart and Lady Julie below (circa 1925) a try:
Strongheart_Lady Julie New 3D_edited-1

You’ll want to experiment with moving the images, i.e., the screen, anywhere from 9 to 13 inches from your eyes until the images start moving together. Also, smaller image size works easier than larger sizes so you if the images are not fully merging together, adjust your screen to make the images smaller. After a little trial and error, you’ll find a size and a focal length that works for you. Here is a photo that begged for 3D – Lon Chaney Sr. as Quasimodo in THE HUNCHBACK OF NOTRE DAME (1923):
Chaney Hunchback 3D in PSE Free transform_edited-1

Once you’ve experienced the 3D effect of free viewing, you’ll know what to look for and subsequent 3D images will come through faster. Here, the Russian Revolution is about the break out in TEMPEST (1928) but Louis Wolheim (top) and John Barrymore find time to horse around in this photo that seems designed for 3D:
Barrymore Wolheim New 3D_edited-1

This photo has a lovely scenic perspective that enhances a 3D view – June Collyer and George Arliss on the set of ALEXANDER HAMILTON (1931) wait for nightfall to film an outdoor scene:
Arliss Hamilton 2 New 3D_edited-1

Since today (April 1st) is Lon Chaney’s birthday (1883), here he is again with Norma Shearer in HE WHO GETS SLAPPED (1924), the very first film produced by the then-newly organized Metro-Goldwyn-Mayer. Shearer and Chaney remained top stars at MGM, Norma until her retirement in 1942, and Lon until his death in 1930:
Shearer Chaney New 3D_edited-1

It may be unkind to note that W.C. Fields’ nose always seemed to be in 3D even in 2D photos. At any rate, here’s an unusual portrait of Mr. Fields sporting a middle eastern look:
W C Fields New 3D_edited-1

Gloria Swanson and her co-star Rudolph Valentino pause in filming a scene for BEYOND THE ROCKS (1922). This film represents the only pairing of these two iconic stars and was considered a “lost” work for decades until a nearly-complete print turned up in the Netherlands just a few years ago and is now on DVD. Ironically, this scene below was among the missing footage in the rediscovered print:
Swanson_Valention Rocks New 3D

This striking portrait of Lon Chaney in character for OUTSIDE THE LAW (1921) seems to anticipate 3D:
Chaney Shadows 3D_edited-1

Clara Bow personified the “Roaring Twenties” perhaps more than anyone else. She was dubbed the “It Girl” and everybody under 90 knew what that referred to, and maybe people over 90 too. Some of her films were considered risque but her studio, Paramount, cancelled her contract in 1931 – even after her successful transition to talkies – when her private life was found to be racier than her films:
Clara Bow New 3D

Finally, before Hepburn & Tracy, Lombard & Gable, or Rogers & Astaire, there was Garbo & Gilbert, that is Greta Garbo and John Gilbert. They ignited the screen in films such as FLESH AND THE DEVIL, LOVE (both 1927), A WOMAN OF AFFAIRS (1928), and the talkie QUEEN CHRISTINA (1933). Not surprisingly, they were lovers in real life, at least for a time in the late 1920s. Here is an iconic image of them from FLESH AND THE DEVIL given both the color and the 3D treatment:
Garbo_Gilbert New 3D

Future posts here will continue to be in color (the raison d’etre for this site) but we’ll be more sparing in using 3D. The stereographic effect is more welcome as a novelty from time to time than as a constant component of photos, or movies for that matter. Perhaps those folks back in Old Hollywood knew this all along.

April 1st is Lon Chaney’s Birthday – No Foolin’

I haven’t done the math but today is the natal anniversary of Lon Chaney’s birth in 1883. The occasion gives us a good reason to take a look at a few more of Chaney’s 1,000 Faces.

THE PENALTY (1920) – Lon’s “legs” and coat are now in the Los Angeles Museum of Natural History:

OUTSIDE THE LAW (1923):

THE TRAP (1922):

THE TRAP, again, and the same character now in anguish:

HE WHO GETS SLAPPED (1924) with Norma Shearer:

As another clown in LAUGH CLOWN LAUGH (1928):

WEST OF ZANZIBAR (1928):

I’d better include at least one photo from THE PHANTOM OF THE OPERA (1925):

LONDON AFTER MIDNIGHT (1927), perhaps the most famous “lost” American film:

Happy Birthday, Lon!

On the Set with …

Lon Chaney Sr. was the granddaddy of the Character Actor-Star in American films, and in many ways he single-handedly created the horror film genre. Lon is remembered mainly for two films where he played the grotesques of the title: THE HUNCHBACK OF NOTRE DAME (1923) and THE PHANTOM OF THE OPERA (1925). In fact, almost all his other films were melodramas, bizarre to be sure, but not exactly horror films. Reclusive by nature, the studios publicized him as the “man of mystery.” Chaney worked in silent films before makeup artists entered the field and developed his own makeup so skillfully and could appear so different from film to film that he was eventually dubbed “The Man of A Thousand Faces.”

Lon labored in the vineyards of film-making from 1914 on playing in support of some well-remembered stars such as William S. Hart and many forgotten ones. Many of these early works are now lost including his breakthrough film, THE MIRACLE MAN (1919), where he played a phoney paralytic. Here is Chaney as himself (more or less) and in character:

In 1922, Lon appeared in a photo spread displaying his craft in conjunction with the film A BLIND BARGAIN (another lost one). Here he displays his makeup case that can be seen today at the Los Angeles Museum of Natural History:

Lon tries out some fangs in planning the appearance of his “apeman” character in the film. Enlarging this photo shows the time on Chaney’s wrist watch as 2:50:

Lon combs out his apeman wig (the time is now almost 2:55):

Lon’s Asian characterizations are remarkable. This portrait, scanned directly from a negative, is from OUTSIDE THE LAW (1923), a film that not only survives but is available on dvd. This photo is striking in black & white but if color film were available, the photographer might have attempted a lantern-light effect such as this:

At a time when movie villains were typically handsome and well-dressed, Chaney displayed evil in characters usually portrayed sympathetically such as the disabled. Another photo scanned directly from a negative, here Lon plays a malevolent cripple in THE SHOCK (1923), another film available on dvd:

Chaney waits between camera setups in perhaps the most famous scene in THE HUNCHBACK OF NOTRE DAME (1923). Note the two reflectors on the right used to redirect the sunlight to brighten up shadows on the buildings across the plaza:

A fine study of Quasimodo from THE HUNCHBACK. In the film Chaney seems unrecognizable under his makeup, but here you can almost see Lon’s face:

Circa 1923, Lon poses for some “mug shots” to demonstrate how he arranges his features and uses dental appliances to suggest a character:

Lon would apply adhesives to pull his skin taut but here he demonstrates how he developed his characterizations more informally:
Both photos above are scanned directly from negatives.

Lon wrings out his sleeve after emerging from the underground lagoon beneath the Paris Opera House in THE PHANTOM OF THE OPERA (1925). Chaney’s makeup design for Erik the Phantom was arduous enough but now it also had to be waterproof:

The Unused Ending – preview audiences rejected this finale where Erik dies of a broken heart and the film went back into production to create a new ending:

THE PHANTOM was not the only big hit Lon had in 1925:

Lon frequently teamed up with director Tod Browning to create a number of macabre masterpieces. One of their best collaborations is THE UNKNOWN (1927) where Chaney portrays a murderer posing as a bogus armless circus performer. To escape detection and impress a woman, he has his arms amputated!

In this publicity photo for THE UNKNOWN, Chaney demonstrates his “skill” at writing with his foot for actress Claire Windsor. Actually, Chaney was doubled in the film where he uses his feet as hands:

Lon plays three generations of an Asian family in Mr. Wu (1927). Here he takes a break from filming by conducting a student orchestra visiting the MGM studio:

Perhaps the most famous “lost” American film, LONDON AFTER MIDNIGHT (1927) where Lon plays a vampire but only as a ruse (no harm giving away the ending since the film is lost) to expose a murderer:

Another direct negative scan, this is one of Lon’s lesser known Thousand Faces from the opening scene in WEST OF ZANZIBAR (1928):

A restored lobby card: pictured are Lionel Barrymore, Lon, and Mary Nolan:

WEST OF ZANZIBAR plays South of the Border:

Another restored lobby card from WHILE THE CITY SLEEPS (1928) where Lon played it straight without resorting to one of his “faces”:

By popular request after we published this post – an original lobby card in original colors:

A detailed study of the subtle makeup used by Chaney to suggest an older character. This photo from LAUGH CLOWN LAUGH (1928) is scanned directly from a negative:

Yet another restored lobby card from 1929, Lon’s next-to-last silent film is the final collaboration between Chaney and director Tod Browning, and featured Lupe Velez and Lloyd Hughes:

A fanciful shot of Chaney as he might have looked in his 60s from his last silent film, a railroad drama titled THUNDER (1929). Alas, only a few minutes survive:

Lon Chaney made only one talkie, the very successful THE UNHOLY THREE (1930), which was a remake of his 1925 hit. Filmed during April 1930, the Man of a Thousand Faces spoke in five different voices, including as an old lady, a parrot, and a ventriloquist’s dummy pictured here in what turned out to be Lon’s final photo session:


Chaney’s death from lung cancer on August 26, 1930, shocked the world. He was only 47. The old story of how Universal wanted Lon for DRACULA (1931) has been discredited but then Universal didn’t want Bela Lugosi either. But that’s another story to be told in our next post (in anticipation of Halloween), On the Set with Bela Lugosi.

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