In November of 1924, a mysterious Hollywood death occurred aboard media mogul William Randolph Hearst's yacht. Among the famous guests that weekend were: film star Charlie Chaplin; starlet Marion Davies (who was also Hearst's mistress at the time); silent-film producer Thomas H. Ince (known for creating the first Hollywood-studio facility and for creating an "assembly line" system for filmmaking); and feared gossip columnist, Louella Parsons. Written by
Carol Lewis, Producer
When he looks up Ince's address, Hearst's address book shows two-letter state abbreviations (CA). These did not come into use until some fifty years later. Further, the address book displays at least one ZIP code, introduced in 1963. See more »
Man in crowd:
Stop pushing! Stop pushing!
[unintelligible yells from crowd]
Man in crowd:
Please, calm down!
In November of 1924, during a weekend yacht party bound for San Diego, a mysterious death occurred within the Hollywood community. However there was no coverage in the press, no police action, and of the fourteen passengers on board only one was ever questioned by authorities. Little evidence exists now or existed at the time to support any version of those weekend events. History has been ...
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Thanks to the people of Kyparissi; Captain Kostas and the crew of the yacht "Marala" See more »
I went to see this movie not expecting much but was pleasantly surprised to find it was a light gaudy slightly malicious but brightly told tale of the rumored murder of Thomas Ince, It was great fun to watch, beautifully shot, with some very sharp dialogue and tasty performances.
I especially enjoyed Cary Elwes as the desperate, conniving Thomas Ince and much of Edward Herrmann's Hearst, the scenes with Elwes with their cat and mouse dialogue sparkled with wit. Kirsten I thought was quite lovable and good but still too young - I didn't believe she was Marion Davies, but more like a teenage version of Marion. Eddie Izzard was a charming, cunning, self assured Charlie Chaplin, but I didn't see the lechery that should have oozed out of him. Joanne Lumley was delicious as the jaded Elinor Gyn.
I did notice a slight frustration with some of the scenes. I wanted a bit more emphasis or drama to accent some of them, they all seemed to play at the same intensity and some of the reaction shots could had more omfph. But still I thoroughly enjoyed it.
Then the next day I started critique it more and noticed more flaws in the movie. The story didn't seem to gather momentum as it went on, but seemed too even in tone and pace. I imagined better ways to shoot some of the scenes and wished for a more mordant tone because the story is a pretty dark one after all. I thought, this seemed to have been shot with the budget and schedule of a TV movie, and was there no time or money to shoot alternative shots, or second takes for the actors?
But then something about the ending made me go back and reassess many of the scenes. Perhaps because I was caught up in the sort of flappergirl feel of the movie, that I did not see that there were secrets and competitions, all sorts of hidden things going on below the gaiety.
It's kind of like Memento, maybe you don't know quite what you are seeing. I wish I could watch it again, because I'm not sure if it's my imagination or if there is re
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