Film Preservation Blogathon: THE LOST WORLD (1925)

monstergirl:

The Film Preservation Blogathon–an important event that helps raise funds to keep essential historic classics from disappearing! Once Upon A Screen covers The Lost World (1925) Please visit the Blogathon to read more fabulous reviews and help spread the word!!!!

Originally posted on Once upon a screen...:

I’m thrilled to help spread the word about an important fund-raising event, the fourth edition of the For the Love of Film: The Film Preservation Blogathon created to help raise money to preserve our film heritage for future generations.  Each edition of this blogathon sets its sight on a particular movie that is in danger of disappearing forever.  This year’s pick is silent era gem, Cupid in Quarantine (1918), a one-reel Strand Comedy, which was chosen with the help of the National Film Preservation Foundation and blogathon hosts, Ferdy on Films, This Island Rod and Wonders in the Dark.

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The For the Love of Film: The Film Preservation Blogathon is aiming to raise $10,000, which will cover laboratory costs for the film’s preservation as well as a new score for the film’s web premiere.  As the group has done in the past the preserved work will be available free of charge to…

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Quote of the Day! From film noir’s dark & thoughtful Red Light (1949)

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Nobody does still waters run deep kind of tough more than George Raft.

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In Roy Del Ruth’s (The Maltese Falcon 1931 with Bebe Daniels and Ricardo Cortez, Du Barry Was a Lady 1943, yes tis true The Alligator People 1959, Why Must I Die? 1960) Noir morality play Red Light, Raft plays Shipping boss Johnny Torno, who catches Nick Cherney (Raymond Burr in one of his most sinister roles) embezzling funds. Torno gets Cherney a term in San Quentin with just enough time to build a psychotic grudge.

Burr in Red Light

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Arthur Franz who’s not being attacked by a giant dragonfly or turning into a pants monster in Monster on the Campus 1958

Burr and Morgan

Morgan

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Arthur Franz as Jess tells his big brother Johnny as his last dying words that he’ll find the answer to his death in the hotel bible

But instead of planning to kill Torno, he decides to hit him where it will hurt more, he pays fellow inmate Rocky who’s getting out in a few days (Harry Morgan in one of the most menacing roles I’ve seen him play, he deserves a place at the bad boy table with Dan Duryea and Frank Lovejoy) to kill Torno’s younger brother, war hero and chaplain brother Jesse played by Arthur Franz.

Driven mad by the mystery of who shot his beloved baby brother down in a hotel room, Torno goes on a quest to find the bible where the name of Jesse’s killer is written. The cinematography and shadowy framework by cinematographer Bert Glennon ( The Red House 1947, House of Wax 1953) is tense and chilling, and all the performances are stellar. Including Gene Lockhart who plays co-owner of the 24 hours a day shipping company. The film also co-stars Virginia Mayo as Carla North who Torno enlists to help him track down his brother’s killer. There are some of the most brutal and uniquely violent moments in the film which is tempered by the question of vengeance and faith.

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Arthur Shields as Father Redmond. He was a wonderfully complicated anti-hero in Daughter of Dr Jekyll 1957

Mayo and Raft

Virginia Mayo as Carla wants to help George who exudes the ‘tormented man’, but he is too driven by revenge for having lost the only thing he truly loved… his kid brother Jess.

I couldn’t help but love Warni’s shared wisdom when he tells Torno who’s drinking himself into an angry stupor to let Jesse’s death go and move on with his life.

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Warni qotes

Gene Lockhart as Warni Hazard tells Johnny Torno (George Raft)- “My old man used to say liquor doesn’t drown your troubles… just teaches them how to swim.”

Gene Lockhart as Warni Hazard “My old man used to say liquor doesn’t drown your troubles… just teaches them how to swim.”

Your EverLovin’ MonsterGirl


The CMBA Blogathon — The Fabulous Films of the 1930s: Men Call It Love (1931)

monstergirl:

Karen from Shadows and Satin and The Dark Pages offers up some Pre-Code love for The Fabulous 30s Blogathon…

Originally posted on shadowsandsatin:

Jack, Connie, and Tony. Jack, Connie, and Tony. Don't let the smiles fool ya. This ain't exactly the Gleesome Threesome. Jack, Connie, and Tony. Don’t let the smiles fool ya. This ain’t exactly the Gleesome Threesome.

Three observations about Men Call It Love.

  1. It’s a rather ambiguous title, isn’t it? WHAT do they call love? Why do they call it that? What do women call it?
  2. It’s not well-known in the world of pre-Code; I’d wager that a poll of classic film lovers – even those with a special affinity for pre-Code – would turn up only a handful who’ve even heard of it.
  3. And its cast doesn’t boast any high-powered, widely recognized names. The most familiar performer is Adolphe Menjou, and he’s not exactly in the same realm as such pre-Code favorites as Warren William, Robert Montgomery, or William Powell.

These considerations notwithstanding, I’m here to say that I’m simply wild about this movie and cannot get enough of it.

What’s it all about?

Men Call It Love

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