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Lost Films We’d Love To See

There’s a special cache that lost films seems to have in our minds, a sort of unattainable treasure just beyond our grasp. Looking at surviving stills, posters and lobby cards tend only to increase our longing to view the movies. The fact that a number of “lost” films have surfaced in the last ten years or so, and some have even made it to home video DVD or Blu-ray, only increases our hopes that more of these elusive antiques will be found.

Here to tantalize us is artwork of some of the better known “lost” films beyond the obvious ones such as LONDON AFTER MIDNIGHT (1927) or CONVENTION CITY (1933). Well, we can dream, can’t we?

I decided to choose one particular year – in this case 1928 – and focus on notable films by big stars that are gone.

I have confirmed the “lost” status of each title with the 2018 listing of “7,200 Lost U.S. Silent Feature Films” by the National Film Preservation Board. You can access this document at https://www.loc.gov/static/programs/national-film-preservation-board/documents/SFF-LostFilmsList050118.pdf

Clara Bow has an unfortunate run of four lost films from this one year:

THREE WEEK ENDS (1928)

THE FLEET’S IN (1928)

LADIES OF THE MOB (1928)

RED HAIR (1928)

There exists a few bits of RED HAIR that only make it more tantalizing:

Next, let’s take a look at a couple of Gary Cooper‘s lost films:

THE LEGION OF THE CONDEMNED (1928) with Fay Wray getting top billing over Coop

BEAU SABREUR (1928)

The films of Greta Garbo enjoy a high survival rate except for this 1928 MGM film:

THE DIVINE WOMAN (1928)
About nine minutes were found in a Russian archive but the rest of the film is considered lost at this time:

Considering John Gilbert‘s legendary status as one of the greatest stars of the 1920s, it’s surprising that one of his 1928 films is among the lost. This film is also one of his most intriguing:

THE MASKS OF THE DEVIL (1928)

We’ve only scratched the surface of reviewing important lost films. Sadly, there are many more so perhaps we might do a “Lost Films 2” in the near future.

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Lost Films We'd Like To See

on September 15, 2019 at 7:59 PM Comments (3)
Tags: Clara Bow, classic film, Gary Cooper, Greta Garbo, John Gilbert, lost films, old Hollywood, silent film

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. Alas,inquiries indicate that this chair no longer 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):

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New 2018 Gallery of Color Transfers

on March 24, 2018 at 9:12 PM Comments (1)
Tags: Al Jolson, classic film, color in films, Humphrey Bogart, lon Chaney, MGM, old Hollywood, old time radio, Phantom of the Opera

On the Set with….the 2017 Edition!

Among our most popular posts here are the “On the Set” series showing legendary figures of Old Hollywood at work on the set of their films. It’s high time we posted a new round of photos – all in living color of course!

On the set of THE TEN COMMANDMENTS (1923) director/producer Cecil B. De Mille (on the left) introduces the U.S. Secretary of War John Weeks to the Pharoah Rameses aka Charles De Roche:

The original Rin-Tin-Tin (1918-1932) and his owner Lee Duncan enjoy sunset on the beach in 1929:

John Barrymore at his magnificent Tower Road home in the Hollywood Hills circa 1930:

Clara Bow gives some swimming suggestions to her niece and nephew circa 1928:

Bette Davis and her dog do a bit of fishing on the San Clemente River in 1933:

Greta Garbo and John Gilbert join director Edmund Goulding and crew for a picnic lunch during outdoor filming on LOVE (1927):

Marion Davies is directed by Sam Wood on the set of THE FAIR CO-ED (1927):

Douglas Fairbanks Sr. is the center of attention at the Hotel Manila in the Philippines during the filming of AROUND THE WORLD IN EIGHTY MINUTES (1931):

Joan Crawford takes some movies of her own during filming for THE UNDERSTANDING HEART (1927):

Frank Borzage directs Spring Byington and Errol Flynn in THE GREEN LIGHT (1937):

Lupe Velez enjoys the beach during filming for HELL’S HARBOR (1930):

Producer/Star Mary Pickford with Allan Forest and Anders Randolf on DOROTHY VERNON OF HADDON HALL (1924):

Rootin’ tootin’ cowboy Humphrey Bogart (!) plays a Mexican bandit in VIRGINIA CITY (1940):

Glamorous Gloria Swanson is unglamorously washed ashore in MALE AND FEMALE (1919):

Director William Desmond Taylor, whose 1922 murder has never been solved, almost seems to be looking for his killer circa 1920:

Finally, Rin-Tin-Tin again in a stunning pose that feels almost 3-D:

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On the Set with...the 2017 Edition!

on October 15, 2017 at 8:25 PM Comments (1)
Tags: Bette Davis, Cecil B. DeMille, Clara Bow, classic film, color in films, Douglas Fairbanks Sr., Gloria Swanson, Greta Garbo, Humphrey Bogart, Joan Crawford, John Barrymore, Lupe Velez, old Hollywood, Rin Tin Tin, silent film, sound film, William Desmond Taylor

Old Hollywood in Color in 3-D and in HD

If you check on some of our previous posts you will find that we have been experimenting digitally with turning two dimensional images (2-D) into three-dimensional images (3-D). Your blogmeister has been sampling new software developments with the recent advent of VR (virtual reality) and 360 (through headgear you can look around as in real life). My approach continues to be based on the original 19th century stereoscope idea: side-by-side images taken at a slightly different perspective to trick our eyes into seeing the images as 3-D. Admittedly low tech but it works. Now with the use of VR headgear (see Amazon for Google Cardboard headgear for $5) the stereoscopic view is enhanced even more.

The key is using your cell phone to view Youtube videos in VR or, in this case, old-fashioned 3-D. The effect can still be seen with “free viewing” so you don’t need any glasses, headgear or other equipment apart from training your own two eyes to focus on the two images (right eye on the right image, left eye on the left). Once mastered, our brain combines the left and right images into a third “middle” image that’s in 3-D.

At any rate, here is our first Youtube video combining the latest software enhancements by colorizing black & white photographs from the 1920s, then transforming them into 3-D, and finally processing them in HD (High Definition). Whew! I have also added original 1920s music. Enjoy the slide show!

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3-D Scenes

on July 1, 2017 at 1:56 PM Leave a Comment
Tags: 1920s Hollywood, 3-D photos, classic film, color in films, old Hollywood, stars in color

Rarely-Seen 1915 William S. Hart: THE SHERIFF’S STREAK OF YELLOW

The survival rate of Bill Hart’s westerns is impressive. A stage actor from New York, Hart’s love of the American West transformed his career in 1914 to starring, directing, and in some cases writing, a classic series of films. Hart managed to capture the “Old West” just before it faded away forever and his films seem more like documentaries than dramas. Our film here is one of the most rarely-seen and has been preserved by the Danish Film Institute in its original color tints. The main titles and intertitles were in Danish but I translated them and substituted English versions using vintage title cards. Finally I added music, which no silent film should ever be without. Enjoy!

william-s-hart-44

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on October 8, 2016 at 2:57 PM Comments (3)
Tags: 1915, classic film, old Hollywood, silent film westerns, William S. Hart

The Original BEN-HUR (1925)

Ben-Hur 3

This month marks the release of the third version of BEN-HUR, using all the technical and computer wizardry of 2016. However this new version is received, the property has a long and successful history. It began as a novel written by General Lew Wallace in the 1880s. The book became a blockbuster bestseller and was no flash in the pan. It remained a top seller for many years thereafter. By 1899 the story was adapted into a hit play and featured live horses on stage for the chariot race. A one-reel film version (about ten minutes long) was made in 1907 that became famous but for a reason that had nothing to do with its popularity. The film company, Kalem, neglected to obtain permission from the book publisher and was sued for copyright infringement. The publisher, Harper Bros., won and the lawsuit became a landmark decision: the first time that a film company was sued for intellectual property violations. But the first feature-length production was made by MGM and released in 1925 at the height of the silent film era. After many problems, it too lived up to its heritage and became another huge blockbuster.

The film was riddled with production problems mainly due to the decision to make the picture in Italy. Although the Italian government promised its full cooperation, repeated labor strikes crippled the filming and finally the production was shut down and returned to California. BEN-HUR was completed in the good ol’ USA. Ultimately, the title role was played by Mexican actor Ramon Novarro. His treacherous friend Messala was played by veteran Francis X. Bushman who had been a film star since 1912! Ben Hur and Messala Final

Messala falsely accuses Judah of attempting to kill the Roman governor and he is sentenced to be a galley slave for life. The famous sea battle was filmed with full-sized ships on the Mediterranean. Novarro with Frank Currier playing the Roman general whose life he saved during the sea battle: Ben Hur on the sea Final

Lovely May McAvoy played Esther, the romantic interest of Judah Ben-Hur: BenHur1927

Idris, the slinky siren who helps Messala, was played by Carmel Myers: Ben Hur Messala adras

Idras attempts to seduce Judah before the great chariot race: movie_poster_ben_hur_1925_2-normal

Messala believes that Judah died as a galley slave and is shocked to find him alive and his chief rival in the chariot race. Talk about a grudge match!

Ben Hur Early shot Final

The chariot race took three weeks to film and employed 42 cameramen. Ben Hur autocolor 2

A behind-the-scenes photo: Ben Hur 5 Final Final

Intertwined with the fictional story of Ben-Hur was the Biblical story of Jesus Christ and how the two men met at crucial times in Judah’s life. Betty Bronson played the Blessed Virgin Mary: Betty Bronson copy_Final

A magazine ad for the film (color added): Ben hur (2) copy_Final

When sound films replaced the silents, BEN-HUR was re-issued in 1931 with a soundtrack of music and effects – and made another fortune! LC 3be

A number of artifacts from the film survive such as Messala’s helmet that Bushman wore for the chariot race: 10657833_2

Watch the trailer (as enhanced by your blogmeister with music from the 1931 re-issue):

Best of all, the 1925 BEN-HUR is available on DVD today, complete with original Technicolor sequences, and is shown frequently on Turner Classic Movies. Here is an original glass slide that was projected onto movie screens to advertise the film: Slide

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The Original BEN-HUR (1925)

on August 12, 2016 at 10:39 PM Comments (3)
Tags: 1920s, BEN-HUR, Carmel Myers, classic film, Francis X. bushman, Lew Wallace, May McAvoy, MGM, old Hollywood, Ramon Novarro, religious epics, silent films, talkies

A Colorful Super Star: Douglas Fairbanks in ROBIN HOOD (1922) and THE BLACK PIRATE (1926)

Douglas Fairbanks (1883-1939) was one of the first movie super stars long before that term was ever coined. A young “juvenile” actor on the stage, Doug gave early films a try in 1915 in a series of popular modern dress comedies. He added some incredible athletic stunts that left movie audiences amazed. By 1917, he was one of the highest paid stars but Doug wasn’t content and decided to produce his own films. He became a partner with his pal Charlie Chaplin, the great director D.W. Griffith, and Mary Pickford (whom he married in 1920) to form United Artists. This company is still in business today.

One of Doug’s earlier films, the now-lost KNICKERBOCKER BUCKAROO (1919) with Marjorie Daw:

Doug Fairbanks literally invented the “action” film genre that remains extremely popular – think Jackie Chan. In 1922, Fairbanks began his most ambitious production yet, a swashbuckler chronicling the legends of Robin Hood. No, it wasn’t a primitive version of the later Errol Flynn film, but a fully developed saga of how the Earl of Huntingdon went from being one of the noble Knights of the Realm to the hunted outlaw Robin Hood rebelling against the unscrupulous Prince John. Fairbanks wanted his film to have the look and feel of old illuminated manuscripts that recalled the glorious Age of Chivalry – and he got it!

No expense was spared as Fairbanks literally built a full-scale castle on the studio lot. He recruited top art directors Wilfred Buckland and William Cameron Menzies, and costume designer Mitchell Leisen (later a major film director). This original color German transparency gives you a good idea of the magnificent sets:

A rare still with another view of the castle:

Robin Hood with Maid Marian, played by Enid Bennett – another German color transparency:

That castle set was huge!

Fencing expert Frank Cavens designed the sword stunts as he would for many later swashbucklers including the Flynn ROBIN HOOD:

Fairbanks as Robin Hood is the master of all he surveys:

Sheet music was published for playing the love theme at home on the piano:

Not to mention a book version of the film’s story:

In 1926, four years after the tremendous success of ROBIN HOOD, and two more epics, Doug was ready for a new challenge: he wanted to be the first major star to produce a film entirely in Technicolor. The result was THE BLACK PIRATE:

These are original color plates from the rare Photoplay Edition novelization of the screenplay:

THE BLACK PIRATE has been restored to its original Technicolor brilliance and is available today on DVD and Blu-ray. Likewise, Douglas Fairbanks in ROBIN HOOD is restored and available on DVD. Both films can also be viewed on streaming video. Fairbanks would no doubt be pleased that his productions continue to delight viewers well into the 21st century!

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Douglas Fairbanks in ROBIN HOOD and THE BLACK PIRATE

on February 3, 2015 at 12:40 AM Leave a Comment
Tags: classic film, color in films, Douglas Fairbanks Sr., old Hollywood, Robin Hood, silent film, Technicolor, The Black Pirate

Halloween 2014 – From the Artists’ Viewpoint

There are a number of talented modern-day artists who have turned their skills to the Classic Horror Films of Hollywood’s Golden Age. These individuals have made their works available on the Internet so what follows is a Halloween roundup with credit given where it is properly deserved.

Robert Semler offers a few of the 1,000 Faces of Lon Chaney Sr.:

Chaney’s THE HUNCHBACK OF NOTRE DAME (1923) by Robert Semler:

THE PHANTOM OF THE OPERA (1925) by Robert Semler:

The lamentably long-lost LONDON AFTER MIDNIGHT (1927) by Robert Semler:

Another artist, Daniel Horne, painted this exquisite portrait of THE PHANTOM:

Daniel Horne gives us LONDON AFTER MIDNIGHT:

Moving into the 1930s, Boris Karloff as the Frankenstein Monster by Daniel Horne:

Mr. Horne also sculptures. Here is Karloff again in two works as Ardath Bey aka THE MUMMY (1932):

The Monster again in sculpture by Daniel Horne:

Everybody’s favorite Halloween couple, Karloff and Elsa Lancaster in THE BRIDE OF FRANKENSTEIN (1935) by Daniel Horne:

An exquisite painting by Daniel Horne of the BRIDE herself:

It just wouldn’t seem like Halloween without Bela Lugosi. From THE MARK OF THE VAMPIRE (1935) by Daniel Horne:

One of my All-Time Favorites – Henry Hull as THE WEREWOLF OF LONDON (1935) by Daniel Horne:

Finally, here is your blogmeister’s attempt at an artistic potpouri of images from our favorite ghouls!

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Halloween 2014 - From the Artists' Viewpoint

on October 31, 2014 at 12:13 AM Comments (3)
Tags: 1930s film, Bela Lugosi, Boris Karloff, BRIDE OF FRANKENSTEIN, classic film, Frankenstein, Henry Hull, Horror Films, Lon Chaney Sr., LONDON ADTER MIDNIGHT, old Hollywood, The Hunchback, The Phantom, WEREWOLF OF LONDON

THE LOST WORLD (1925) – The Original Continuity Script

We can’t equal our recent post here where we provided the complete continuity script for LONDON AFTER MIDNIGHT (1927), perhaps the most famous “lost film” of all time. However, we’re not being too shabby by providing the script for the granddaddy of all dinosaur films —

THE LOST WORLD was based on the best-selling 1912 novel by Sir Arthur Conan Doyle. A corking good adventure yarn, this 1925 film version ran ten reels and was booked at special “road shows” prior to its general release. But for decades, the only surviving version was a truncated 16mm edition that ran about half the length, or 50 minutes, of the original.

You know you’re dealing with a prestige film when a special “Photoplay Edition” of the novel is published with photos from the movie. Here is a worn but surviving dustjacket showing the romantic couple Bessie Love and Lloyd Hughes:

This glass slide was projected onto gigantic screens of movie palaces of the day as an advertisement. Perhaps we’re jaded now, but at the time audiences were amazed to see humans and dinosaurs together:

An original color lobby card with Bessie Love and Lloyd Hughes:

The film offered comedy relief from these characters that, even in 1925, was considered the weakest part of the movie:

A love triangle with Lewis Stone (later “Judge Hardy” in Mickey Rooney’s ANDY HARDY films) playing Bessie Love’s fiance. In the 1920s, Stone was a popular leading man and certainly a better actor than Mr. Hughes!

A bearded Wallace Beery on the right played the fiesty Professor Challenger, leader of the expedition to a mysterious plateu in the South American jungles to prove his theory that dinosaurs still exist:

Two sides of a movie “herald” to alert the town to the forthcoming attraction:

The special effects work by Willis O’Brien won much praise with the monsters even appearing to breathe. O’Brien would later animate KING KONG and SON OF KONG (both 1933) and MIGHTY JOE YOUNG (1949). O’Brien’s protege, Ray Harryhausen, brought a new generation of monsters to screen life beginning in the 1950s.

A vintage Swedish poster. THE LOST WORLD became an international hit!

Restored editions of THE LOST WORLD have been available on DVD for several years now, and a Blu-ray version is apparently in the works. But alas, there is much missing footage gone from the film since its 1925 release. However, you can “see” the complete film by reading through the script here:
LOST WORLD 1925_Complete Script

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THE LOST WORLD (1925) - The Original Continuity Script

on August 29, 2014 at 3:58 PM Comments (2)
Tags: Bessie Love, classic film, dinosaur films, Lewis Stone, Lloyd Hughes, old Hollywood, Photoplay Edition, silent film, Sir Arthur Conan Doyle, Wallace Beery

London After Midnight – The Original 1927 Continuity Script

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

Lon Chaney plays Professor Burke, a detective/hypnotist who is investigating the “suicide” of Roger Balfour:

There are strange goings-on in the old Bafour Mansion, and some mighty strange creatures too:

A curious inhabitant seems to have supernatural powers:

Burke questions the various suspects and uses hypnotism too:

Looks like it’s going to be a long night at the Balfour Mansion:

Burke eventually proves that Bafour’s death was murder and collars the killer:

But what about those strange creatures? We suggest you read the script if you’re not able to see the movie!