DOCSLIB.ORG

1928-02-16, [P PAGE SEVEN]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1928-02-16, [P PAGE SEVEN] THURSDAY, FEBRUARY 16, 1928 THE CARBON COUNTY NEWS PAGE SEVEN that lie?” Fabien's eyes blazed and depleted and it was necessary to be non’s faith in him being shaken. Nor his fists were clenched. fitted out from shoes to a becoming, did it occur to his weary brain that lien a “My friend—it is the truth! I want wavy white wig. The best of every­ she might have been influenced to de­ only to help you.” Tiberge spoke thing was demanded. Fabien wanted part with some mistaken idea of bene­ soothingly but it was useless. fiting him. Man loves On Fabien quickened his stride and left Fabien was so impatient to see Ma­ ALLIE LOWE MILES Tiberge behind as though he no long­ non that the early hours of evening Your er desired his society. However, he dragged into an eternity. The result P Copyright 1927, Warner Bros. Pictures, Ino. had not gone more than a few paces was that long before the Frascati was lohn Barrymore In “WHEN A MAN LOVES” la a Warner Broa. PI» when he stopped dead in his tracks in full swing Fabien arrived. It was turizatlon of this novel. and peered tragically into a carriage his debut to the gambling clubs of search for that was passing by. 6ft Paris. tabion, good and sandsome youth of , jn some wav u influenced her denar- / l\ Franoe, trains f,,r tin priesthood; hut , y . mnuenceu ner oepai It was a beautiful and expensive As he descended the wide marble meets and loves Manon Lescaut, beaute- | ture and as tune passed and he saw carriage, but he did not notice that. staircase his slender figure, so ele­ il y Tn e * 1! e r " \ v ' e M i v" ™.scaIly brother, rea-j|,ow deeply and seriously Fabien was fine coffee lizing her worldly value, barters her for , , , Neither was he conscious that his gai­ v h gantly attired in rich black velvet and gold te Ravoir, rich connoisseur of wo- affected, he regretted the part he had ters and clothes were being splattered / L \ priceless lace frills, formed a flatter­ men. Falilea saves her and carries her played—not in their separation for ■H\)\ olf to Paris, where they live happily to- f , • with mud from the wheels. All he saw ing contrast with the light, gaily col­ Kethcr. Marion's brother steals her for nG lelt that was right—but In his Ravoir; she escapes, and returns to the friend’s sorrow and broken spirit. He was—Manon! His beautiful Manon. ored costumes of the players. deserted lovenest, but Fabien has gone. , , ,, Still beautiful—more lovely than when Fabien’s face was pale. He wound is at an end Homeless, both roam Paris, looking for had never realized that love could he last saw her—but no longer his! among the tables, slowly, searching each other. Manon Is seized by a rowdy. work such havoc with a man’s life. J: u She is rescued by her brother, who takes This was too evident from her luxur­ ■ for Manon. He was oblivious to every­ her back to Bavoir. A desire to justify his own stand, ious attire and magnificent jewels. thing until he realized that it was too and perhaps bring Fabien to his “Manon!—Manon!” Fabien called early for; the real habitues of the place' when you see CHAPTER XI senses, made Tiberge begin a person­ her name from the, depths of his He must wait still longer. Days and days of weary searching al search for Manon. starved soul, but the carriage passed Gradually he awakened to the f brought no trace of Manon. He was successful in locating her. on down the boulevard and Manon had a 'h beauty of the room. Dazzling crystal It was impossible for Fabien to con­ Discovering the kind of life she was not even glanced in his direction. chandeliers reflected the sparkle from Hills Bros’ centrate on anything until she had leading gave him complete vindica­ He started blindly to follow and was hundreds of burning candles and cast been found. He could not return to tion in the matter. He was right about gently restrained by Tiberge, “Don’t a brilliant glow upon the white his father and hear Manon slandered, her being the wrong type of woman my friend, it would do no good,” he "Try your luck, m'sieur, by 6et-l wigged people and the jewelled wo- and he was in no mood to resume his men. Liveried servants kept the beak­ for Fabien. Tiberge hurried to relate said pityingly. ting on the age o] your sweet­ Arab studies. Love had so engulfed his mind the news because he was sure Fabien’s “I won’t believe it. It can’t be true!” heart." ers filled with rich cherry colored and heart that he had surrendered interest and anguish would cease when his whole face was convulsed with wine. And at \ arious gaming tables himself to its resulting misery and de­ he knew the truth, then he would be men and women were playing escaret, grief. Manon to see him in a different light * O « clined every avenue of escape. willing to return to his father and his “Then you must be convinced. Take than their poverty stricken week had roulette and baccarat while others Tiberge was his one friend and calling. advantage of your father’s credit— permitted. The result was that no stood about watching or waiting for support, without whose many volun­ They were walking along the visit your tailor and go tonight to young man had ever appeared to bet­ an inspiration before placing their tary loans Fabien would have starved. Boulevard together when Tiberge Frascati’s—you will see Manon with ter advantage; at least as far as an money. His courage was kept up only by the said, “Heartache is a bitter thing to your own eyes. I am told that she observer could judge. a well known figure in the night life © belief that Manon was true and was endure alone. We who love you have and the Comte are favored patrons at However, Fabien’s confidence in At one of these tables stood Nana, trying as hard to find him as he was a right to share it—come back!” the club.” of Paris. Her years—one could not e himself vanished every time the vision T~ to locate her. “I shall never leave Paris until 1 “I will. And after I have talked with of Manon, so gorgeously attired, guess just how many—had carried V, ' The passing weeks brought a change her through a whirlwind of emotional have found Manon,” replied Fabien her, I will prove that you are mis­ flashed across his memory. Had the I in his former neat appearance. His tonelessly. taken.” Comte won her affections and why experiences and prepared her to cope «Ji clothes grew shabby and he did not Now was Tiberge’s chance. “But For the first time in weeks, Fabien’s had she gone to him ? These were tor­ with any situation that might arise as care. He knew that as; soon as he found Manon is lost to you. She has placed voice lost its dullness. He was to see turing thoughts that caused Fabien’s the result of her adventuresome ca- Manon his interest and ambition would herself under the protection of the Manon again! heart to sink until the agony almost reer. She was passionate, and enthu­ . be refired and he would enjoy the Comte De Ravoir. He carefully ; engulfed him. siastic about anything that according best life offered. studied Fabien’s face and felt sorry The remainder of the afternoon was During all the weeks of lonely to her code promised profitable re- Tiberge never mentioned the call he for him. profitably spent with his father’s searching, Fabien had not for turns. a mo- End of the trail! End of trials and tribulations! made on Manon, yet he sensed that “Damn you! Do you think I believe tailor. Fabien’s wardrobe was entirely ment considered the possibility of Ma- Nana was one of the first in the room to notice Fabien. Always alert Here is the one brand that has won the hearts and for a new victim she sensed in this the epicurean tastes of the coffee-loving West. The sad eyed, handsomely attired gentle­ Arab is your guarantee of genuine Hills Bros. Cof­ DON’T MISS TOMORROW NIGHT man a youth who appeared capable fee. It is the symbol of Controlled Roasting—of “KEMPY” 8 O’CLOCK of gratifying her senses and filling Mluc ciith (BnIf) flawless flavor developed by Hills Bros.’ exclusive, her purse. As Fabien strolled curiously toward continuous process of roasting a jew pounds at a the roulette table, Nana made time. VOLUME 1 RED LODGE, MONTANA FEBRUARY 16, 1928 NUMBER 19 room for him at her side. He accepted the Always ask for Hills Bros, by name and look for space and piqued her pride by not ans­ CARBON QUINT WINS wering the bold challenge in her eyes. the Arab on the can. By the way, have you had STAFF HI GLEE CLUBS THE GAS PIPE» The truth of the matter was that your copy of “The Art of Entertaining”? It is he was not even aware of her pres­ free. It tells how to make perfect coffee every time. ence. Fabien belonged to that < V Address Hills Bros., Dept. 410, 2 Harrison St., Editor-In-Chief - - Katherine Fenolia, GIVE PROGRAM SECOND AT TOURNEY “Getting out a paper is no picnic.
Load more

Recommended publications
  • Comunicato Stampa WHEN a MAN LOVES, VERSIONE DI ALAN CROSLAND DELLA MANON LESCAUT, CON PROTAGONISTI JOHN BARRYMORE E DOLORES
    Comunicato stampa WHEN A MAN LOVES , VERSIONE DI ALAN CROSLAND DELLA MANON LESCAUT , CON PROTAGONISTI JOHN BARRYMORE E DOLORES COSTELLO, INAUGURA A PORDENONE LA 33 a EDIZIONE DELLE GIORNATE DEL CINEMA MUTO. AI FRATELLI JOHN, LIONEL E ETHEL BARRYMORE È DEDICATA LA RETROSPETTIVA PRINCIPALE DEL FESTIVAL. IL GOSFILMOFOND PORTA A PORDENONE LE COMMEDIE DI PROTAZANOV. Sabato 4 ottobre, Teatro Comunale Giuseppe Verdi di Pordenone Muto ma non troppo. Il film che sabato 4 ottobre alle 20.30 inaugura la 33.ma edizione delle Giornate del Cinema Muto , al Teatro Verdi di Pordenone fino all’11 ottobre prossimo, When a Man Loves (Per amore di una donna), è infatti uno dei migliori esempi di sonorizzazione che si facevano negli anni Venti. Esito scontato, essendo il film un adattamento del celebre romanzo dell’Abbè Prevost Manon Lescaut , che aveva ispirato già tre opere liriche, ma soprattutto perché autore delle musiche è il compositore e direttore d’orchestra Henry Kimbell Hadley , musicista all’epoca famosissimo. When a Man Loves inaugura anche la rassegna che le Giornate dedicano ai Barrymore , e il protagonista del film è l’esponente più famoso, intelligente, romantico e tormentato della famiglia, John, nonno di Drew Barrymore, ultima discendente della più grande dinastia dello spettacolo americano. Protagonista femminile Dolores Costello, terza moglie di John e nonna di Drew. John era uno dei più grandi attori della sua epoca, e si divideva tra il teatro e il cinema, dove riusciva ad ottenere ingaggi estremamente favorevoli. Laurence Olivier, che da ragazzo lo vide recitare, ebbe a dichiarare che quando John Barrymore entrava in scena era come vedere sorgere il sole.
    [Show full text]
  • Envisioning LOUISIANA
    Envisioning LOUISIANA A concert presented by The Historic New Orleans Collection & the Louisiana Philharmonic Orchestra “Envisioning Louisiana” is the seventh installment of Musical Louisiana: America’s Cultural Heritage, an annual series presented by The Historic New Orleans Collection and the Louisiana Philharmonic Orchestra. Dedicated to the study of Louisiana’s contributions to the world of classical music, the award-winning program also provides educational materials to more than two thousand fourth- and eighth-grade teachers in Louisiana’s public and private schools. Since the program’s inception, Musical Louisiana has garnered both local and national recognition. The 2008 presentation, “Music of the Mississippi,” won the Big Easy Award for Arts Education; “Made in Louisiana” (2009) received an Access to Artistic Excellence grant from the National Endowment for the Arts; and “Identity, History, Legacy: La Société Philharmonique” (2011) received an American Masterpieces: Three Centuries of Artistic Genius grant from the National Endowment for the Arts. “Envisioning Louisiana” celebrates the rich natural history of Louisiana and explores how composers have depicted the state and its people through music. The concert complements the exhibition Seeking the Unknown: Natural History Observations in Louisiana, 1698–1840, on view February 23 through June 2, 2013, at The Historic New Orleans Collection, 533 Royal Street. The eighteenth annual Williams Research Center Symposium, Seeking the Unknown: Perspectives on Louisiana’s Natural History, taking place February 23, 2013, further explores the same theme. More information about these events is available at www.hnoc.org or by calling (504) 523-4662. KELLER FAMILY FOUNDATION Live internet streaming of this concert on www.LPOmusic.com is supported by the Andrew W.
    [Show full text]
  • Hollywood Legacies and Russian Laughter: Le Giornate Del Cinema Muto / Pordenone Silent Film Festival 2014 2015
    Repositorium für die Medienwissenschaft Gert Jan Harkema Hollywood legacies and Russian laughter: Le Giornate del Cinema Muto / Pordenone Silent Film Festival 2014 2015 https://doi.org/10.25969/mediarep/15187 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Harkema, Gert Jan: Hollywood legacies and Russian laughter: Le Giornate del Cinema Muto / Pordenone Silent Film Festival 2014. In: NECSUS. European Journal of Media Studies, Jg. 4 (2015), Nr. 1, S. 255– 260. DOI: https://doi.org/10.25969/mediarep/15187. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/NECSUS2015.1.VAL3 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 Hollywood legacies and Russian laughter: Le Giornate del Cinema Muto / Pordenone Silent Film Festival ２０１４ Gert Jan Harkema Over the past three decades Le Giornate del Cinema Muto, or the Pordenone Silent Film Festival, has become an indispensible forum for academics, archivists, and collectors working on silent cinema. The festival is held in Pordenone, a small city in northern Italy, and is organised and curated by an international crowd of specialists in the field. For eight days in October the Teatro Verdi’s large auditor- ium turns into a continuous screening space for new discoveries, rare findings, and early masterpieces.
    [Show full text]
  • Motion Picture ART PORTFOLIO
    1 A ^ * WM^S - s »0 c> '1* • f .9 M -p. % X si' /• >^ yy''** ss yY'»< 2 ^ * a. o o <- «A 0e v J* Scanned from the collections of The Library of Congress AUDIO-VISUAL CONSERVATION at The LIBRARY >f CONGRESS Packard Campus for Audio Visual Conservation www.loc.gov/avconservation Motion Picture and Television Reading Room www.loc.gov/rr/mopic Recorded Sound Reference Center www.loc.gov/rr/record otion Picture RT PORTFOLIO I. No. 1. FEBRUARY Price 25 c. urge Size Reproductions of Qorgeous Spectacular and THIS ISSUE Scenes from he Big Parade" Id Ironsides'' he King of Kings" en Hur" ichael Strogoff" orrows of Satan" and others ]acqneline Logan as Mary Magdalene in the Cecil B. De Mille production, "The King of Kings" — e/fr£ is the mainspring of human inspiration- §Motion Picture ART PORTFOLIO is devoted to the advancement of the glorious art creations of the world's foremost motion picture producers- A subscription to this publica- tion is an investment in inspiration* For subscription rates see last page. JAN1577 ©C1B 718864 Motion Picture ART PORTFOLIO Issued monthly from the printing establishment of Fleming 8C Reavely, Inc., 344 West 38th St., New York City, in the United States of America. Publisher CHARLES J. GIEGERICH, Editor and Vol. I. February, 1927 Axiomatir i HIS is the age of illustration written and spoken worr" -0 other arts, pictorial ' t penetrates the intellect and a' Pictorial art is the a retreat invested in v Pictorial art convinces and ins may confuse ar understandable This i' i play and the explanati^ .rectors.
    [Show full text]
  • Vitaphone Brochure (1927)
    VtTAPHDM The Biggest Thing In The Last Forty Years periments at the studio of the firm AX ORE THAN twenty-five years in Brooklyn. Then \yr C. DURANT, regarded in business as one there came a ago, H. G. Wells, in “When period of depression and likewise * the Sleeper Wakes,’’ described an of the leading figures in the security market, periods of exultation. A time came invention of the future. On a smooth when the engineers, carried predicted in 1 908 that General Motors would earn away by white surface, a yard square, “The a new lead and a new promise, for- Sleeper” saw miniature more money than the United States Steel Corpora- human fig- got to eat and worked all night. ures moving about and heard them tion. That prediction, which in 1 908 sounded fan- Screen History talk and sing. It was ‘ ‘ exactly like tastic, has become part of financial history in reality, viewed through an inverted 1927. Bit by bit things got clearer and opera glass and heard hope became stronger, with the re- through a long Recently Mr. Durant volunteered another predic- tube. ’ ’ sult that the Warners plunged deep- At that time, when both phono- tion. In an interview with B. C. Forbes that ap- er into the enterprise by taking over the huge and graphs and motion pictures were peared in Forbes’ Magazine for February, he said: expensive Manhattan doubtful experiments, Wells’s imag- Opera House in New York for the ination performed the feat of pre- continuation of the experiments and ||' I HE thing that has the biggest possibilities of dicting them, not only perfected, but as a studio for the screening of ar- tists.
    [Show full text]
  • Alan Crosland, the JAZZ SINGER (1927, 88 Min)
    August 27, 2013 (XXVII:1) Alan Crosland, THE JAZZ SINGER (1927, 88 min) Academy Awards—1929—Honorary Award (Warner Bros.) for producing The Jazz Singer, the pioneer outstanding talking picture, which has revolutionized the industry. National Film Registry—1996 Directed by Alan Crosland Adapted for film by Alfred A. Cohn Based on the short story by Samson Raphaelson (“The Day of Atonement”) Original music by Louis Silvers Cinematography by Hal Mohr Edited by Harold McCord Al Jolson...Jakie Rabinowitz May McAvoy...Mary Dale Warner Oland...The Cantor Eugenie Besserer...Sara Rabinowitz Otto Lederer...Moisha Yudelson Crossland directed John Barrymore in Don Juan, which had sync Richard Tucker...Harry Lee sound effects and music, but no dialogue, using Vitaphone. Cantor Joseff Rosenblatt…Cantor Rosenblatt - Concert Recital SAMSON RAPHAELSON (b. March 30, 1894, New York City, ALAN CROSLAND (b. August 10, 1894, New York City, New New York—d. July 16, 1983, New York City, New York) has 45 York—d. July 16, 1936, Hollywood, California, car accident) writing credits, among them 1988 “American Playhouse,” 1980 directed 68 films, among them 1936 The Case of the Black Cat, The Jazz Singer (play), 1965 “Wolken am Himmel,” 1959 1935 The Great Impersonation, 1935 King Solomon of “Startime,” 1956 Hilda Crane (play), 1955 “Lux Video Theatre,” Broadway, 1935 It Happened in New York, 1935 The White 1952 “Broadway Television Theatre,” 1949 “The Ford Theatre Cockatoo, 1934 The Case of the Howling Dog, 1934 Massacre, Hour” 1949 In the Good Old Summertime, 1947
    [Show full text]
  • Thesis Final
    ABSTRACT Abbé Prévost’s novel L’Histoire du chevalier des Grieux et de Manon Lescaut (1731) has inspired at least four operas, notably by Daniel Auber, Jules Massenet, Giacomo Puccini, and Hans Werner Henze. This study will look at the three nineteenth- century operas based on that novel: Auber’s Manon Lescaut (1856), Massenet’s Manon (1884), and Puccini’s Manon Lescaut (1893). Massenet’s treatment receives the most attention because it is the most popular, and arguably the most well-known, of the three operas. I will discuss Manon’s role in the novel and operas, and its impact on the dramatic conception of each work. In the three operas I will examine her arias and other music, and her relationships with other characters. The goal is to gain a better understanding of each composer’s interpretation of Prévost’s heroine and to explore why Manon is different in each work. ACKNOWLEDGEMENTS I would like to express my deepest gratitude to Dr. Marcia Citron, Dr. Walter Bailey, and Dr. Gregory Barnett for their support and encouragement. Dr. Citron’s wisdom and experience has been invaluable throughout this process. I thank Dr. Bailey and Dr. Barnett for their assistance and insightful suggestions. I am grateful for Robert Nelson’s help with translations. Finally, I am indebted to Rice University’s Shepherd School of Music for the financial support that helped make this study possible. TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES..................................................................................v Chapter 1 INTRODUCTION...........................................................................................................1
    [Show full text]
  • Cinecon Films
    Updated September 6, 2019 RELEASE TITLES DATE COMPANY CINECON YEAR SUMMARY / NOTES Charlie on the Ocean 1921 ? 1 1965 NOTE: [Charlie Chaplin newsreel] Conquest of the North Pole 1912 G. Méliès 1 1965 Feathered Nest, The 1916 Keystone 1 1965 Lure of the Circus, The 1918 Universal 1 1965 NOTE: [excerpts] Max the Pickpocket 1 1965 Primitive Lover, The 1922 First National 1 1965 Road to Yesterday, The 1925 DeMille/PDC 1 1965 Screen Snapshots Columbia 1 1965 Show People 1928 M-G-M 1 1965 Spanish Dancer, The 1923 Paramount 1 1965 Square Deal Sanderson 1919 Ince/Paramount 1 1965 Uncensored Movies 1923 Hal Roach/Pathe 1 1965 Winsor McKay Explains Cartoons to John Bunny 1911 Vitagraph 1 1965 Coward, The 1915 Ince - KayBee 2 1966 Eyes of Youth 1919 Garson 2 1966 Hands Up! 1925 Paramount 2 1966 Hazards of Helen, The 1914 Kalem 2 1966 Invaders, The 1912 KayBee 2 1966 Iron Claw, The 1916 Pathé 2 1966 Lizzies of the Field 1924 Sennett/Pathe 2 1966 Man With the Punch, The 1920 Universal 2 1966 Beauty and theBump 1927 Skylark - Bray 3 1967 Don Juan 1926 Warner Bros. 3 1967 Fatty and Mabel Adrift 1916 Keystone - Triangle 3 1967 Irene 1926 First National 3 1967 Iron Horse, The 1924 Fox 3 1967 Judith of Bethulia 1913 Biograph 3 1967 Kismet 1920 Robertson-Cole 3 1967 Last Command, The 1928 Paramount 3 1967 Updated September 6, 2019 Navigator, The 1924 Keaton/Metro 3 1967 Richard the Lion Hearted 1923 Allied Producers 3 1967 Sherlock, Jr. 1924 Keaton/Metro 3 1967 Silent Clips 3 1967 Silent Movie as a Communicator, The 3 1967 Sons Of The Desert 1933 Roach/M-G-M 3 1967 Steel Shod Evidence 1923 Pathé 3 1967 Big Boy Short Educational 4 1968 NOTE: [title not known] Crackerjack, The 1925 C.C.
    [Show full text]
  • ARSC Journal, Spring 1991 35 Operatic Vitaphone Shorts
    THE OPERATIC VITAPHONE SHORTS By William Shaman On 6 August 1926 "Vitaphone," the latest commercial sound-on-disc motion picture system, made its debut at the Warners' Theater in New York City. The feature film that evening, "Don Juan," with John Barrymore and Mary Astor, was a lavish costume picture with a pre-recorded soundtrack consisting of synchronized sound effects and a Spanish-flavored score written by Major Edward Bowes, David Mendoza, and Dr. William Axt, played by the New York Philharmonic Orchestra under Henry Hadley. There was no spoken dialogue. Eight short subjects preceded "Don Juan:" Will H. Hays, president of the Motion Picture Producers Association, welcoming the Vitaphone in a spoken address; the Overture to Tannhauser played by the New York Philharmonic, again with Hadley conducting; violinist Mischa Elman, accompanied by pianist Josef Bonime, playing Dvorak's "Humoresque" and Gossec's "Gavotte;" Roy Smeck, "Wizard of the Strings," in a medley of Hawaiian guitar, ukulele, and banjo solos; violinist Efrem Zimbalist and pianist Harold Bauer playing the theme and variations from Beethoven's "Kreutzer" Sonata, and three solos by singers Marion Talley, Giovanni Martinelli and Anna Case. By all accounts, the show was a resounding success. A steady flow of shorts and part-talking features would follow, beginning with the second Vitaphone show on 7 October 1926. On 6 October 1927 "The Jazz Singer" premiered in New York. The other major Hollywood studios, anticipating a favorable public response to sound films, had been involved in clandestine negotiations since 1926 and now were scrambling to secure a share of this lucrative new market.
    [Show full text]
  • Film Locations in San Francisco
    Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/01/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/01/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
    [Show full text]
  • Bess Meredyth
    Bess Meredyth Also Known As: Helen MacGlashan, Mrs. Wilfred Lucas, Mrs. Michael Curtiz Lived: February 12, 1890 - July 13, 1969 Worked as: adapter, co-director, co-screenwriter, comedienne, continuity, extra, film actress, film cutter, musical comedy actress, novelist, scenario writer, source author, title writer Worked In: Australia, United States by Victoria Sturtevant Bess Meredyth is mentioned in nearly every account of women screenwriters of the silent era, but very few details about her work seem to make it into print. The richest source for information about this extremely prominent screenwriter is Eighty Odd Years in Hollywood, the autobiography of Meredyth’s son, John Meredyth Lucas. This text, too, however, leaves large gaps in detail and in the chronology of the author’s mother’s career, and the son reflects: “It, unfortunately, never seemed important that I learn Mother’s early history. She never wrote it, only mentioned a few disconnected anecdotes. I never asked. By the time the questions were formed, the answers had died” (19). Born Helen MacGlashan in Buffalo, New York, Bess Meredyth’s father was the manager of a local theatre, and she began working as an organist and later a vaudeville light comedienne in her teens. She came to Hollywood in 1911, working as an extra for the Biograph Company for a short while, and quickly began writing scenarios on a freelance basis to supplement her income. While at Biograph, Bess Meredyth met and married actor and director Wilfred Lucas, who became her frequent collaborator. In 1914, the couple left Biograph to run their own unit at the Universal Manufacturing Company, where she became a fairly well-known comic actress, appearing primarily in “Willy Walrus” and “Bess the Detectress” shorts.
    [Show full text]
  • Preservation Examples: Silents to the Dawn of Sound
    PRESERVATION EXAMPLES: SILENTS TO THE DAWN OF SOUND For the first two decades of the motion picture, feature films as such did not exist. The short subject was the featured attraction in cinemas, offering patrons comedies, dramas, adventures, westerns, cartoons, documentaries, scenics, and trickfilms, all in as little as one reel or less. By the 1920s, the feature-length film of five reels and longer had assumed prominence, and the short subject was relegated as support to create a well-balanced program, a dynamic in theaters that continued well into the sound era. The UCLA Film and Television Archive strives to achieve a balance in its preservation program between feature films and short subjects. While several hundred features have been preserved by the Archive since the 1970s, more than a thousand shorts have been saved during that same period. Unfortunately, not all of the films preserved by UCLA The UCLA Film and Television Archive has preserved more are pristine. Although some have been reproduced than a thousand shorts and several hundred feature films from camera-original negatives and are things of since the 1970s including Molly O’ (1921), pictured above, beauty, others have been copied from sole-existing and featuring Mabel Normand and Jack Mulhall. prints which reflect the ravages of wear, mishandling, missing footage, or decomposition present in the surviving material. And while some can be numbered among the most entertaining films ever made, others might be included among the worst. But considering that at least 80 percent of silents – and far too many early sound films--are lost, with the ranks of the unpreserved being thinned steadily due to nitrate deterioration, it is fortunate that we have anything left at all.
    [Show full text]