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Bed and Sofa: Version Without Audio Commentary
The Best Arbuckle/Keaton Collection, Volume One
From 1913 to 1916, Roscoe "Fatty" Arbuckle rose from the ranks of bit player to writer, director and star of comedies for Mack Sennett's Keystone Film Company. Because of Sennett's belief that actors were interchangeable, he lost Arbuckle to producer Joseph M. Schenck, who not only paid the comedian handsomely, bu...
From 1913 to 1916, Roscoe "Fatty" Arbuckle rose from the ranks of bit player to writer, director and star of comedies for Mack Sennett's Keystone Film Company. Because of Sennett's belief that actors were interchangeable, he lost Arbuckle to producer Joseph M. Schenck, who not only paid the comedian handsomely, but also permitted him complete creative control. To help in the new venture, Arbuckle recruited Buster Keaton, popular star of a knockab...
From 1913 to 1916, Roscoe "Fatty" Arbuckle rose from the ranks of bit player to writer, director and star of comedies for Mack Sennett's Keystone Film Company. Because of Sennett's belief that actors were interchangeable, he lost Arbuckle to producer Joseph M. Schenck, who not only paid the comedian handsomely, but also permitted him complete creative control. To help in the new venture, Arbuckle recruited Buster Keaton, popular star of a knockabout vaudeville act; Keaton took a large pay cut to act in motion pictures, and Arbuckle welcomed his ideas and taught him all he knew about making movies. This volume of the video collection presents films that Arbuckle and Keaton made for Schenck between 1917 and 1918; they are presented chronologically so we can watch Buster grow from Arbuckle's bit player to his full partner.
Following the 1921 scandal that was inflamed by a publicity-seeking prosecutor and the tabloid press, Arbuckle's films were withdrawn from circulation in America, and the negatives were not preserved. The films in this collection were gathered from international archives and private collections. The English intertitles are new, and except for Coney Island, derived from non-English sources. All the films are digitally mastered from 35mm, sometimes directly from the nitrate originals.
VOLUME ONE INCLUDES:
- The Butcher Boy (Apr. 1917) with Josephine Stephens
- The Rough House (Jun. 1917) with Alice Lake
- His Wedding Night (Aug. 1917) with Alice Mann
- Oh, Doctor! (Sept. 1917) with Alice Mann and music by Brian Benison
- Coney Island (Oct. 1917) with Alice Mann and music by Eric Beheim
- Out West (Feb. 1918) with Alice Lake and music from vintage recordings in the Columbia Photoplay Series
- The Bell Boy (Mar. 1918) with Alice Lake, Charles Dudley
- Moonshine (Fragment, May 1918) with Alice Lake, Joe Keaton, Charles Dudley
By The Law
Chess Fever
Cobra
Source: www.imdb.com
Rudolph Valentino's first independent production, Cobra, was released less than a year prior to the actor's untimely death at age 31. It is an unusual and contradictory showcase for the actor who is remembered more than any other as the icon of irresistible sexuality in Hollywood silent film.
Beleaguered by wome...
Source: www.imdb.com
Rudolph Valentino's first independent production, Cobra, was released less than a year prior to the actor's untimely death at age 31. It is an unusual and contradictory showcase for the actor who is remembered more than any other as the icon of irresistible sexuality in Hollywood silent film.
Beleaguered by women in his native land, a promiscuous Italian Count, Rodrigo Torriani (Valentino) escapes to New York to work for an elegant antiques dea...
Rudolph Valentino's first independent production, Cobra, was released less than a year prior to the actor's untimely death at age 31. It is an unusual and contradictory showcase for the actor who is remembered more than any other as the icon of irresistible sexuality in Hollywood silent film.
Beleaguered by women in his native land, a promiscuous Italian Count, Rodrigo Torriani (Valentino) escapes to New York to work for an elegant antiques dealer specializing in Italian objets d'art. The ambitious young man cannot suppress the Don Giovanni within himself and he is soon embroiled in a new series of romantic entanglements with secretaries, husband hunters and extortionists. But when his best friend's new wife captures suave Torriani in her cobra-like gaze, he reforms just in time to avoid disgrace and even death-by-fire.
Cobra truly represents the visual richness of silent cinema at its peak. At the center of it all is Valentino, charming and photogenically resplendent. Even with his stunning looks, Valentino's appeal as the Great Lover, enacted according to conventions of the 1920s, is often difficult for modern audiences to fathom. By contrast, his far more restrained performance in Cobra makes this film more accessible today than the great hits upon which the star's reputation was built.
A NOTE ON THIS EDITION: This edition of Cobra is digitally mastered at the visually correct speed of 22 frames per second from a full aperture mint-condition 35mm master positive printed from the original camera negative, thus preserving intact all of the photographic beauty which is one of this film's most attractive qualities. The musical setting is compiled by Rodney Sauer and Susan Hall from period arrangements and is recorded in digital stereo by the Mont Alto Theater Orchestra.
Show more Show lessDown To The Sea In Ships
Joan the Woman
Source: www.imdb.com
Joan the Woman (Cardinal Film Corporation, 1916) was Cecil B. DeMille's first great spectacle. In keeping with theatrical tradition, DeMille sought a more formal and stylized mode of acting from stars Geraldine Farrar and Wallace Reid - a technique he continued in his late historical films. Wilfred Buckland's art...
Source: www.imdb.com
Joan the Woman (Cardinal Film Corporation, 1916) was Cecil B. DeMille's first great spectacle. In keeping with theatrical tradition, DeMille sought a more formal and stylized mode of acting from stars Geraldine Farrar and Wallace Reid - a technique he continued in his late historical films. Wilfred Buckland's art direction is outstanding, and DeMille's social comments are subtle but biting. The film also features a dramatic hand-colored climax u...
Joan the Woman (Cardinal Film Corporation, 1916) was Cecil B. DeMille's first great spectacle. In keeping with theatrical tradition, DeMille sought a more formal and stylized mode of acting from stars Geraldine Farrar and Wallace Reid - a technique he continued in his late historical films. Wilfred Buckland's art direction is outstanding, and DeMille's social comments are subtle but biting. The film also features a dramatic hand-colored climax utilizing the Handschiegl stencil-color process.
The film became a prototype for DeMille's later spectacles. His handling of the large battle scenes (with the aid of seventeen cameras and a small army of assistant directors, including William deMille, George Melford and Donald Crisp) was exceptional - equal to D.W. Griffith's work in The Birth of a Nation and Intolerance. The real strength of the picture, however, is found in the director's provocatively compelling images:
- At Joan's trial by torture, officials the Church are clad in white hooded robes with black holes for eyes. DeMille frames his shot so that the top of Cauchon's mitre is out of frame, and he looks like a black-clad grand dragon of the invisible empire surrounded by Klansmen and hiding behind a crucifix rather than a bishop of the Church.
- The empty town square. An executioner drives a single horse cart piled with kindling to lay around the stake where Joan will meet her death. A lone dog is the only living thing, barking a futile protest.
- As Joan is led to the stake, the Bishop Cauchon seizes her ornate crucifix, and as the flames surround her, Eric Trent hands Joan a handmade cross of simple twigs that she carries to her death.
Ultimately, in an effort to get more performances per day, the picture was drastically cut very early in the run. This video release offers DeMille's director's cut and the original hand-colored climax. William Furst's original 1916 score is performed by Christian Elliott at the J. Ross Reed Wurlitzer, Sexson Auditorium, Pasadena, California.
Show more Show lessLumiere's First Picture Shows
"Workers leaving the Lumière Factory", "The Gardener", "Arrival of a train at La Ciot Station" and many more are on display in Lumière's First Picture Shows; a collection of firsts from the filmmakers that started a business of film production, exhibition, and distribution.
The acknowledged birth of film histo...
"Workers leaving the Lumière Factory", "The Gardener", "Arrival of a train at La Ciot Station" and many more are on display in Lumière's First Picture Shows; a collection of firsts from the filmmakers that started a business of film production, exhibition, and distribution.
The acknowledged birth of film history was December 28, 1895, when the first paying audience gathered at the Grand Cafè on Boulevard des Capucines, Paris, for a performa...
"Workers leaving the Lumière Factory", "The Gardener", "Arrival of a train at La Ciot Station" and many more are on display in Lumière's First Picture Shows; a collection of firsts from the filmmakers that started a business of film production, exhibition, and distribution.
The acknowledged birth of film history was December 28, 1895, when the first paying audience gathered at the Grand Cafè on Boulevard des Capucines, Paris, for a performance of films on the Cinèmatographe of brothers Louis and Auguste Lumière. This program is mostly reproduced from a collection of original Lumiere films unearthed in 1972 from a basement storage area in the Los Angeles County Museum of Natural History. They were copied using an original Cinèmatographe as a printer. The program includes twenty films from 1895-97 taken in France, four special films that were hand-colored one frame at a time, and thirteen films taken in Washington, Chicago, and New York City during 1896-97 in the United States.
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