more CINECON side trips
Harlett O'Dowd
the first half of this year's Cinecon - and may be driving in from the
bay area.
I'd love to see the Hearst Castle (and maybe Monteray) on the way
down.
Any other must see sights (film related or not) on the way in?
Thanks in advance.
Christopher Snowden
If you're taking the 5 down to Hollywood, you'll be going right past
William S. Hart's estate. As you approach the Castaic/Newhall area, a
little bit south of Magic Mountain, you'll see a sign for "William S. Hart
Park." You take a few side streets to get there, but it's a pretty short
trip. Hart's house is up on a hill, full of art and artifacts, but to get
inside I think you have to be there in time to take the official tour.
Near the end of August, I'll be posting on my website the old home
addresses of dozens of 1920s stars who lived in the Hollywood area, for
those of us who'll be wandering around town between screenings.
Chris Snowden
Unknown Video
http://www.unknownvideo.com
This week: Bits and Pieces About D. W. Griffith
http://www.unknownvideo.com/it.shtml
James Roots
> If you're taking the 5 down to Hollywood, you'll be going right past
> William S. Hart's estate. As you approach the Castaic/Newhall area, a
> little bit south of Magic Mountain, you'll see a sign for "William S. Hart
> Park." You take a few side streets to get there, but it's a pretty short
> trip. Hart's house is up on a hill, full of art and artifacts, but to get
> inside I think you have to be there in time to take the official tour.
Speaking of Hart, is there any chance of some of his currently
unavailable films making it to DVD or video in the next year or
two?
About a month ago, I watched the last of the 15 or 16 of his films
now available on video (nearly all of them from Grapevine), and
already I'm suffering withdrawal symptoms. The news that TUMBLEWEEDS
will be released on DVD is welcome and I'll buy a copy to keep
David in clover, or at least in weeds, but I've already got that
one on video, and in my opinion it's one of his weakest films
notwithstanding the legendary land-rush sequence.
It's my old complaint: why keep releasing new formats of the
same old silents when there are so many we haven't seen since
their original release? Why yet another version of METROPOLIS
or NAPOLEON or PHANTOM OF THE OPERA when we still can't get a
home version of hundreds of other desirable films? Where's
Max Davidson? Where's the definitive Charley Chase DVD series?
Where's J'ACCUSE or Gance's other films?
I realize Hart isn't going to sell even 500 copies, but in the
20 years I've been collecting silent videos/DVDs, I haven't seen
any effort from anywhere to get more than those 15 or 16 of his
films out there for the fans.
Maybe if you throw in a free Hart t-shirt with the purchase of
any six new Hart releases... (I bet that Brian guy who made the
Chase and Langdon t-shirts would be happy to produce a Hart
shirt!)
Jim
(Has Hart, will bleed)
Dave Garrett
says...
> Harlett O'Dowd wrote:
> > Assuming my rehearsal schedule allows, I am hoping to make at least
> > the first half of this year's Cinecon - and may be driving in from the
> > bay area.
> >
> > I'd love to see the Hearst Castle (and maybe Monteray) on the way
> > down.
If you go to Hearst Castle, be sure and call them to order tickets for
the tour in advance, as it's quite a popular attraction and you stand a
good chance of not being able to get in without a very long wait,
(particularly on weekends) if you just show up. There are several
different tours offered that go through different parts of the house, so
you'll also want to figure out which one you're most interested in
taking.
> If you're taking the 5 down to Hollywood, you'll be going right past
> William S. Hart's estate. As you approach the Castaic/Newhall area, a
> little bit south of Magic Mountain, you'll see a sign for "William S. Hart
> Park." You take a few side streets to get there, but it's a pretty short
> trip. Hart's house is up on a hill, full of art and artifacts, but to get
> inside I think you have to be there in time to take the official tour.
I believe the tours are offered every hour, or maybe every half-hour.
They are free, with a donation suggested at the end of the tour. When I
was there, my wife and I were the only people waiting to take the tour,
which is fairly brief but worthwhile. Our tour guide had his spiel down
pat, but seemed a bit confused when I asked him if he thought many of
the people that visited the house had ever seen any of Hart's films.
Dave
ChaneyFan
when we still can't get a home version of hundreds of other desirable films?
On these three, it's pretty simple. These are all important films and have
never been released properly on DVD. All previous versions of METROPOLIS are
an abortion compared to the restored print. NAPOLEON has *never* been on DVD
(and there's an hour or so of additional footage not on the laserdisc). There
are no good copies of the '25 PHANTOM around and the definitive '29 version
from Brownlow et al. hasn't been released in any video format yet (at least in
the US...don't know about UK).
===============================
Jon Mirsalis
e-mail: Chan...@aol.com
Lon Chaney Home Page: http://members.aol.com/ChaneyFan
Jon's Film Sites: http://members.aol.com/ChaneyFan/jonfilm.htm
Bob Birchard
> Speaking of Hart, is there any chance of some of his currently
> unavailable films making it to DVD or video in the next year or
> two?
Well, it ain't DVD, but we'll be running William S. Hart's 1921 film "White
Oak" at Cinecon this year over Labor Day Weekend. Festival info can be had at
--
Bob Birchard
bbir...@earthlink.net
http://www.mdle.com/ClassicFilms/Guest/birchard.htm
James Roots
Thanks, Bob. But as the father of 4 school-age children,
there ain't a chance in hell of me getting away to LA on
the Labour Day weekend. Are there any plans to record
WHITE OAK to tape or DVD after the Cinecon showing?
Jim
Bob Birchard
Since several of the folks at LOC where we're getting the print are watching and will
be attending Cinecon I have to given you an emphatic NO on that one.
Jeremy Bond Shepherd
"ChaneyFan" <chan...@aol.com> wrote in message
news:20020725030232...@mb-cp.aol.com...
the definitive '29 version
> from Brownlow et al. hasn't been released in any video format yet (at
least in
> the US...don't know about UK).
For what it's worth, the Brownlow version of the '29 PHANTOM was released on
a PAL VHS cassette in the UK. I had a copy imported and it looks good for
VHS; still waiting for a DVD issue though.
-Jeremy
James Roots
>>>>Why yet another version of METROPOLIS or NAPOLEON or PHANTOM OF THE OPERA
> when we still can't get a home version of hundreds of other desirable films?
>
> On these three, it's pretty simple. These are all important films and have
> never been released properly on DVD. All previous versions of METROPOLIS are
> an abortion compared to the restored print. NAPOLEON has *never* been on DVD
> (and there's an hour or so of additional footage not on the laserdisc). There
> are no good copies of the '25 PHANTOM around and the definitive '29 version
> from Brownlow et al. hasn't been released in any video format yet (at least in
> the US...don't know about UK).
I grant your points, Jon, although all three films have been
available in VHS and laserdisc for decades, and PHANTOM is available
on DVD from (I think) Image. I won't mention the atrocious DVD of
METROPOLIS.
It just seems that about a million times more energy and money goes
into producing yet another version of these classics. Every time
Kevin finds another 45 seconds of NAPOLEON footage, he or someone
else releases an updated "restoration". I don't mean to suggest
this work is wasted or pointless, though it's certainly a doomed
quest to create a "definitive" edition.
My point is that some of this energy and money should be moved
in other directions. Kevin thinks there might be another, oh,
let's say 20 minutes of NAPOLEON footage out there somewhere.
Fine, keep looking, but stop producing and promoting updated
editions every time you find a foot-long strip of film in
somebody's attic. Get all of that 20 minutes together and THEN
release an updated version, and then close the doors on this
project.
In the meantime, divert some resources towards restoring the
treasures that were excerpted in BBC series he (Kevin) produced
on European silent films. I've already often expressed my
frustration at the short shrift given to German Expressionist
films NOT made by Pabst, Murnau, Lang or Wiene (all of whom I love,
BTW). Every extant film mentioned in Kracauer's book FROM
CALIGARI TO HITLER should be restored and released. They are
pivotal towards understanding not only 20th century psychology
but also the power of film to shape and distort that psychology.
Jon, as a Chaney authority, you can whip off the names of a
half-dozen Chaney silents that sit in vaults. How about some
resources being devoted to their restoration and release, instead
of yet another restoration of PHANTOM and HUNCHBACK OF NOTRE DAME?
The latter two are already out on the market, even if these
particular versions don't satisfy your completist heart; let
them do the work of attracting newbies to Chaney's charisma,
and thereby increase the potential audience for the half-dozen
yet-unreleased features.
I've got the original double-cassette VHS of NAPOLEON, admire
it, could nevertheless barely get through it to the end, and
am actually repelled by the idea of watching an even longer
version of an already overlong film.
I've got the Rohauer version of PHANTOM, taped off French TV,
but including the colour version of the unmasking. I'm looking
to pick up a better version (sans commercials for Monsieur Net
[Mr.Clean to you]) on DVD, and that's as far as I'm willing to
go. And I'm a big Chaney fan who hopes to someday write an
article about his Deaf parents, so it's not like I'm saying
"Enough Chaney already!"
I will buy Kino's "definitive" version of METROPOLIS, and that's
all I need of that film. And, again, I'm a huge fan of Lang,
except for the MABUSE junk which I always thought was ridiculous.
William Hart was one of the five biggest stars and influences
on silent film, and you and I have previously agreed that he never
made a bad movie. How come there are so many Pickford, Fairbanks,
CHaplin and Griffith films on DVD, but only one Hart (with one
more to come)? One of the answers is that Kino and others
are more interested in investing in the umpteenth upgraded
version of BIRTH OF A NATION, THIEF OF BAGHDAD, SPARROWS, and
THE GOLD RUSH than in putting out the only DVD or VHS version
of WHITE OAK, WOLF LOWRY, and SHARK MONROE on the market.
Another answer is that David Shepard, and God bless him, is
more interested in re-tooling his Red Silents series than in
creating a German Expressionists series that _doesn't_ include
CALIGARI or any MABUSE film.
Maybe it's the fact that my career is in fighting for equality,
but the situation strikes me as terribly unfair and unjust. And
like most cases of unfairness and injustice in society, it can
be made a little bit more fair by a reasonably minor adjustment
in the allocation of resources and attention.
Okay, I'll get off my soapbox now.
Jim
ChaneyFan
but the situation strikes me as terribly unfair and unjust.
Jim, I don't disagree with any of your points. In a perfect world, all silent
films will be released on DVD next month with full orchestral scores.
The reality is money for production, probable sales, story/film rights, musical
scores, etc., etc. If we had another 200 people like David Shepard willing to
lose money to put out a DVD of a 1917 Wm S Hart picture, I'm sure there would
be a lot more silents out there. As it is, we are probably getting a dozen or
more new silent features on DVD every year. At this rate, it will be only
about 400 more years before all extant silents will be available. :-)
Harlett O'Dowd
> In the meantime, divert some resources towards restoring the
> treasures that were excerpted in BBC series he (Kevin) produced
> on European silent films. I've already often expressed my
> frustration at the short shrift given to German Expressionist
> films NOT made by Pabst, Murnau, Lang or Wiene (all of whom I love,
> BTW). Every extant film mentioned in Kracauer's book FROM
> CALIGARI TO HITLER should be restored and released. They are
> pivotal towards understanding not only 20th century psychology
> but also the power of film to shape and distort that psychology.
While I might quibble with several statements in this post, I'll
certainly second a wish that all of the extant films mentioned in
Kracauer get a DVD release.
>
> I've got the Rohauer version of PHANTOM, taped off French TV,
> but including the colour version of the unmasking.
Wha Wha WHAT????!!!!!!!! A color unmasking????!!!!!!!!
> I will buy Kino's "definitive" version of METROPOLIS, and that's
> all I need of that film. And, again, I'm a huge fan of Lang,
> except for the MABUSE junk which I always thought was ridiculous.
Yikes! I didn't think there was a Lang fan on the planet who agreed
with me that his European output is consistently wonderful EXCEPT for
the Mabuse films.
James Roots
>>>>Maybe it's the fact that my career is in fighting for equality,
> but the situation strikes me as terribly unfair and unjust.
>
> Jim, I don't disagree with any of your points. In a perfect world, all silent
> films will be released on DVD next month with full orchestral scores.
>
> The reality is money for production, probable sales, story/film rights, musical
> scores, etc., etc. If we had another 200 people like David Shepard willing to
> lose money to put out a DVD of a 1917 Wm S Hart picture, I'm sure there would
> be a lot more silents out there. As it is, we are probably getting a dozen or
> more new silent features on DVD every year. At this rate, it will be only
> about 400 more years before all extant silents will be available. :-)
Good. I'm looking forward to my immortality!
Jim
Rodney Sauer
>>>>Maybe it's the fact that my career is in fighting for equality,
>>>>
> but the situation strikes me as terribly unfair and unjust.
>
> Jim, I don't disagree with any of your points. In a perfect world, all silent
> films will be released on DVD next month with full orchestral scores.
>
> The reality is money for production, probable sales, story/film rights, musical
> scores, etc., etc. If we had another 200 people like David Shepard willing to
> lose money to put out a DVD of a 1917 Wm S Hart picture, I'm sure there would
> be a lot more silents out there. As it is, we are probably getting a dozen or
> more new silent features on DVD every year. At this rate, it will be only
> about 400 more years before all extant silents will be available. :-)
Yes, what Jon said. And add to that the fact that certain titles --
PHANTOM OF THE OPERA is a good example -- are films that the general
public has heard of, and will sell orders of magnitude greater than a
1917 Wm S Hart picture. The market can support three versions of PHANTOM
(or DR. JEKYLL, to speak from experience), but it would be suicide to
have competing versions of more obscure films out there (count your
blessings on THE CHEAT).
Kino, Milestone, and Image all try to make truly great silent film DVDs,
tracking down the best available material, commissioning new scores,
adding digital tinting when required, combining best elements from
different sources, the works. Therefore it is reasonable to allow them
the luxury of reissuing known top-sellers along with two to five
obscurities (AFFAIRS OF ANATOLE, BATTLE OF THE SEXES) each year. If you
just want to see as much Wm S Hart on video as soon as possible, you'd
probably do better letting your desires be known to Grapevine, LS Video,
or one of the outfits that puts out smaller runs of video at a lower
budget.
Or better yet, volunteer for a local independent film series and rent
the films and see them the proper way. We show William S. Hart at the
Chautauqua series in Boulder from time to time, and we take requests
into consideration.
And as for Pickford, she's a special case. As the only silent film star
to leave a significant financial legacy, there's some money to score and
restore her films, so sales are not the only financial consideration.
Rodney Sauer
rod...@mont-alto.com
The Mont Alto Ragtime and Tango Orchestra
and The Mont Alto Motion Picture Orchestra
http://www.mont-alto.com/
Mile Films
to leave a significant financial legacy, there's some money to score and
restore her films, so sales are not the only financial consideration. >>
Uhm, I'm contracted to earn that money back for them so they can give it to
hospitals, medical research, the Hollywood Home, and other charities (their
real work), so though it's great that they advance the money for the releases,
but the financial end does come into it. And of course, there's my son's
college education to consider as well. We don't want Adam to go to a crap
college in Ohio like his dad did, do we, Mr. Spawn of Satan? ;-)
Dennis Doros
Milestone Film & Video
email: Mile...@aol.com
website: www.milestonefilms.com
Precode
> << And as for Pickford, she's a special case. As the only silent film star
> to leave a significant financial legacy, there's some money to score and
> restore her films, so sales are not the only financial consideration. >>
>
> Uhm, I'm contracted to earn that money back for them so they can give it to
> hospitals, medical research, the Hollywood Home, and other charities (their
> real work), so though it's great that they advance the money for the releases,
> but the financial end does come into it. And of course, there's my son's
> college education to consider as well. We don't want Adam to go to a crap
> college in Ohio like his dad did, do we, Mr. Spawn of Satan? ;-)
>
Um...Mr. Spawn of Satan doesn't understand what you mean...
Mike S.
(OU '73)
Mile Films
<<We don't want Adam to go to a crap
college in Ohio like his dad did, do we, Mr. Spawn of Satan? ;-)
>>
Schlesinger said
<<Um...Mr. Spawn of Satan doesn't understand what you mean...
Mike S.
(OU '73) >>
To explain: Doros. OU class of 1979 (or 1983 or whatever). They graduated me
only when I threatened to return for one more year... I'm hoping Adam will go
to a real school. ;-)
ChaneyFan
only when I threatened to return for one more year... I'm hoping Adam will go
to a real school. ;-)
That's a relief. For a minute I thought he was talking about my four years at
Kent State!
BlakeMF
Especially the Film & TV Dept.....
I had a teacher in the graduate program tell the students in the Film History
course that they did not have camera dollies until the sound era.
I nearly bit my tongue in trying not to respond.
Michael F. Blake
Glamour Studios
ready for me though. In my first college film class (or film class on any level,
for that matter) I was horrified to realize that most of these "students" who
wanted to be "movie directors" or "screenwriters" HAD NEVER EVEN PICKED UP A
MOVIE CAMERA, much less made a film. I, of course, had already gone through 2
cameras (a hand-cranked Bell & Howell standard 8mm, and a Super-8 sound camera)
by the age of 17.
Teachers didn't get very far with me screwing up film history...after all, I had
read "From Caligari to Hitler" by age 14. By the end of my first year of
college, I was TEACHING a film history class. The teacher was grateful for the
break.
Archie Waugh
ChaneyFan
History course that they did not have camera dollies until the sound era.
This is not at all surprising. I've been to more than a few lectures by film
professors who said jaw-droppingly stupid things. One prominent professor, who
I will not name because (a) he was a very nice guy and (b) he has passed away,
was a supposed expert on movie musicals and he could provide unimaginable
amounts of misinformation in a single lecture. One of my favorites was a
statement something to the effect of "THE KING OF JAZZ was the first color film
ever made, but unfortunately, it's now a lost film."
Precode
> Doros said:
> <<We don't want Adam to go to a crap
> college in Ohio like his dad did, do we, Mr. Spawn of Satan? ;-)
> >>
>
> Schlesinger said
> <<Um...Mr. Spawn of Satan doesn't understand what you mean...
> Mike S.
> (OU '73) >>
>
> To explain: Doros. OU class of 1979 (or 1983 or whatever). They graduated me
> only when I threatened to return for one more year... I'm hoping Adam will go
> to a real school. ;-)
>
I know, I know! It was a joke on "crap school!"
Mike S.
(What is this, a newsgroup or an oil painting?)
Eric Grayson
>I know, I know! It was a joke on "crap school!"
>
>Mike S.
>(What is this, a newsgroup or an oil painting?)
>
Eric (who is left handed but not a moth)
Mile Films
Just letting the others in on the joke to be nice.
<< (What is this, a newsgroup or an oil painting?) >>
Let's hope it's not an oil painting. There'll be 50 or more responses regarding
the speed of the painter's brush strokes and whether the original frame should
be restored or a more modern one be considered and why there haven't been more
Miro's released. ;-)
(And please note, out of 100+ films we distribute, about 20 of them are about
art. No prejudices are intended or any genre dissed...)
Derek Boothroyd
James Roots <ag...@FreeNet.Carleton.CA> wrote:
...
>William Hart was one of the five biggest stars and influences
>on silent film, and you and I have previously agreed that he never
>made a bad movie. How come there are so many Pickford, Fairbanks,
>more to come)?
...
In case you missed it, HELL'S HINGES is on the Treasures from American
film archives DVD set, so that 3 Hart films are on DVD (with THE TOLL
GATE and TUMBLEWEEDS out separately).
- Derek B.
eric stott
It would be nice if HELLS HINGES were available separately. The archives
set is pretty expensive, and there is a lot of stuff on it I never
needed to see and don't want to see again. "Treasures" is a very
subjective term.
Eric Stott