GILBERT: 1965 JAMES BOND 007 Action Figure
Reblogged for snorkel placement.
GILBERT: 1965 JAMES BOND 007 Action Figure
Reblogged for snorkel placement.
An Eastern Westerner (1920)
The two-reel Harold Lloyd comedy An Eastern Westerner (1920) is a Western spoof in which the daredevil comic plays a rich, spoiled young New Yorker whose parents ship him off to his uncle’s ranch in rootin’-tootin’ Piute Pass to correct his high- living city ways. Harold soon has a confrontation with a lecherous bully called “Tiger Lip” Tompkins (Noah Young) who is trying to have his way with a virtuous young woman after locking up her sickly father.
It’s Harold to the rescue as he saves the father, falls in love with the girl and does battle with a Western version of the Ku Klux Klan. The final chase has some classic Lloyd moments as Harold eludes his hooded assailants — at one point hiding in a skirt that hangs from a clothesline.
The heroine is played by Mildred Davis, Lloyd’s frequent leading lady, who would soon marry him and retire to raise their family. Lloyd would later say of producer/director Hal Roach, his most significant collaborator: “He wasn’t actually a very good director. [But] he had fortitude, he had drive, and he had worlds of confidence… There was a sort of affinity between Hal and myself. He used to say, ‘No matter what the scene is that I think up, Lloyd has the knack of putting it on the screen the way I visualize it.’ Roach was very creative, he was a very good gagman, and he had great courage.”
Producer/Director: Hal Roach
Screenplay: Frank Terry, H.M. Walker (titles)
Cinematography: Walter Lundin
Original Music: Robert Israel
Principal Cast: Harold Lloyd (The Boy), Mildred Davis (The Girl), Noah Young (Tompkins, the Bully).
- From TCM
Tide of Empire (1929)
“Tide of Empire, a big-scale Western filmed by Allan Dwan from Waldemar Young’s adaptation of Peter B. Kyne’s novel, had synchronized sound - but rival Westerns were going one better by talking too. It concerned itself with ranchers, gold-seekers and outlaws in the days when California was becoming more American than Spanish. Renee Adoree and George Duryea were the leads, aided by George Fawcett, Paul Hurst, Fred Kohler and William Collier Jr.”
- The MGM Story by John Douglas Eames
Then billed as ‘George Duryea’, the male lead would later earn considerable success as a Western star under the name ‘Tom Keene’, appearing in about a dozen RKO Westerns, while Renee Adoree’s career fizzled as soon as the talkies came in (her last film was in 1930), so presumably her accent was a little too thick to be understood.
One reason why this film has attained a certain quiet fame, though, is an unplanned cameo by a huge star of the time. This is from Allan Dwan himself, interviewed in Peter Bogdanovich’s Allan Dwan: The Last Pioneer (Praeger, New York, 1971):
"It was a western, and we were shooting on the street at MGM one night when suddenly we heard a commotion and wham! a fellow came flying out of the saloon doors. It wasn’t part of the scene at all - I didn’t expect it. And he did two or three somersaults - amazing flops - slid down the street, sat up and looked around. It was Buster Keaton. He did the stunt to amuse the Talmadge girls (he was engaged to Natalie) who were on the set. And I kept it in. Bit of atmosphere - a bum who’s thrown out of a saloon.”
I don’t know if he’s being fanciful here - I doubt it’s possible that the operator of an unwieldy silent-era camera could react to an unexpected stunt as described in such a way as to get usable footage out of it. Of course, the operator could have just taken the shot as directed, leaving the stunt in the background, but it would have to be an awfully long shot to take it all in (“three somersaults… slid down the street”). It’s certainly the case that Buster was on set and in costume, and it’s possible that they got the stunt on camera, but nobody has managed to produce a print in which the stunt appears. TCM and IMDB list the running time as 73m, but the Warner Archives DVD runs 82m, which even with the vagaries of silent-era framerates and elastic running times, means that this is the most complete print out there, and there’s no sign of the stunt anywhere.
Of course, you can conduct your own investigation and prove me wrong, but to do that you’ll have to get your own burn-on-demand DVD from Warner Archives and squint your way through a lot of freeze-frames. It’s a pretty painless procedure, though, since it is a fun film in its own right, with some interesting moments (like when the jolly, raucous, salt-of-the-earth locals become a jolly, raucous, salt-of-the-earth lynch mob), a good orchestral score (accompanied by some questionable experiments in late silent-era sound effects) and a heck of a lot of shootin’.
to express your seething contempt for humanity than by having awful music play as soon as anyone navigates to your Tumblr. There just has to. It’s the aural equivalent of ricin-laced hate mail.
Some great pictures of a young Buster from Buster Keaton’s My Wonderful World of Slapstick (1960, Doubleday, New York).
The Times We Had by Marion Davies
Foreword by Orson Welles, in which he demolishes the “Kane=Hearst” formula beloved by lazy critics and ignorant journalists for 75 years.
Harry Houdini, snake-oil salesman.
From Buster Keaton’s My Wonderful World of Slapstick (Doubleday, New York, 1960).
Show People (1928)
MGM’s Show People (1928), one of the biggest hits among Marion Davies’ silent films, was written as a send-up of Hollywood and, more specifically, the career of Gloria Swanson. Davies plays Georgia-bred starlet Peggy Pepper, who has aspirations to become a great dramatic actress but instead scores a hit in slapstick comedies starring Billy Boone (William Haines, who later retired from films to become a successful interior decorator). The pair fall in love, but complications arise after Peggy - now billed as Patricia Pepoire achieves her goal of becoming a dramatic star and plans to marry her unctuous new leading man.
Davies puts her gift for facial clowning to expressive use in lampooning Swanson, and Show People also proves a romp for director King Vidor, noted for such hard-hitting dramas as The Big Parade (1925) and The Crowd (1928). For the final scene of the film, Vidor has the heroine and her true love reunited on the set of a World War I drama directed by - King Vidor! (The same year, Davies and Vidor were reunited for The Patsy, with Davies again putting her talent for mimicry to funny use in impersonations of Pola Negri, Mae Murray and Lillian Gish.) Show People is further enlivened by the cameo appearances of such stars of the day as Charlie Chaplin, Douglas Fairbanks, John Gilbert and William S. Hart, along with gossip columnist Louella Parsons and Marion Davies herself.
Davies’ romantic relationship with publishing magnate William Randolph Hearst, famously satirized in Citizen Kane (1941), had led to the creation of Cosmopolitan Pictures, established by Hearst for the sole purpose of producing Davies vehicles. After moving from Paramount to the Goldwyn Company, Cosmopolitan became part of the package when Goldwyn merged with Metro to become MGM. Production chief Louis B. Mayer began financing the Cosmopolitan films and paid Davies a weekly salary of $10,000.
An irony of Davies’ relationship with Hearst is that, while her natural gifts lay in the field of comedy, he wanted to see her playing frail, virginal heroines in the Mary Pickford mold. Hearst was also overly protective of Davies’ on movie sets. One scene in Show People requires Davies to wear a fancy party dress which will be ruined during a slapstick routine at a social gathering. According to Fred Lawrence Guiles in his biography Marion Davies, the scene was altered to please Hearst. “Originally, Peggy was to have been struck by a custard pie, but Hearst refused to allow it. Vidor thought the pie was necessary and there was a conference in Louis B. Mayer’s office about the matter. ‘You’re right,’ Hearst told Vidor, ‘but I’m right, too and I’m not going to let her be hit by a pie.’ The seltzer bottle was a compromise and, in one way, it was an improvement, since Peggy Pepper’s pretentious, frilly costume is wrecked along with her composure.”
Director: King Vidor
Producer: Marion Davies
Screenplay: Laurence Stallings, Wanda Tuckock, Agnes Christine Johnston, Ralph Spence
Cinematography: John Arnold
Art Direction: Cedric Gibbons
Editing: Hugh Wynn
Cast: Marion Davies (Peggy Pepper), William Haines (Billy Boone), Dell Henderson (Oldfish Pepper), Paul Ralli (Andre Telefair), Polly Moran (Peggy’s maid).
BW- Silent- Captioned-79m.
- From TCM
Unlikely to show up on TV very often, Show People has been released on DVD by the good people at Warner Archive, who, for a piffling remittance, will burn a copy for you and send it to your house where you live. Fancy that!
Here in Australia, ‘Family Fortunes’ is called ‘Family Feud’. Mental! Also, this happened last night. Apparently some words have slightly different meanings in different countries.
It’s funny enough when the woman says the thing, but when the man says the thing after the thing, it’s hilarious.
PS I am nearly forty.
Baller status: confirmed.