Mae Marsh - News Poster


While the City Sleeps & Beyond a Reasonable Doubt

The love for Fritz Lang doesn’t quit! As Lang’s biographers point out, his American films consistently focus on moral and psychological questions in crime. Lang saw murder as more than a dramatic tool as he probed for weaknesses in the legal system. His final American pictures — two separate disc releases — make excellent use of good actors. Dana Andrews stars in both, backed by name stars set loose from the studio system.

While the City Sleeps and Beyond a Reasonable Doubt

Separate Blu-ray releases

Warner Archive Collection

B&W / 2:1 widescreen / Street Date March 13, 2018 / 21.99 each

Original Music: Herschel Burke Gilbert

Produced by Bert E. Friedlob

Directed by Fritz Lang

Fritz Lang’s final American films.

The amazingly creative Fritz Lang almost singlehandedly pioneered a number of key genres: the fantasy epic, the gangster film, the spy thriller, and the science fiction film — all before the start of the sound era.
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Dawson City: Frozen Time

This Blu is a fascinating hybrid of experimental film and historical documentary by Bill Morrison of Decasia fame. Lost film history and the vanished era of the Dawson Gold Rush blend into one story — all touched off by the discovery of tons of rare silent film, buried in the cold ground of the Canadian Yukon. And Donald Trump’s in there too! In the show, not the snow.

Dawson City: Frozen Time


Kino Lorber Kino Classics

2017 / Color & B&W / 1:78 widescreen & 1:37 Silent Ap / 120 min. / Street Date October 31, 2017 / available through Kino Lorber / 34.95

Starring: Kathy Jones-Gates, Michael Gates, Sam Kula, Bill O’Farrell, Chris ‘Mad Dog’ Russo, Bill Morrison.

Film Editor: Bill Morrison

Researchers: Kathy Jones-Gates, Michael Gates

Original Music: Alex Somers; sound design John Somers

Produced by Bill Morrison and Madeleine Molyneaux

Written and Directed by Bill Morrison

Bill Morrison is the celebrated filmmaker of Decasia, a wonderful film
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Hell on Frisco Bay

I tell you it’s rough out there on Frisco Bay, especially when you say the word ‘Frisco’ within earshot of a proud San Francisco native. This Alan Ladd racketeering tale could have been written twenty years earlier, but it has Warner Color and the early, extra-wide iteration of the new movie attraction CinemaScope.

Hell on Frisco Bay


Warner Archive Collection

1955 / Color / 2:55 widescreen Academy / 98 min. / Street Date , 2017 / available through the WBshop / 21.99

Starring: Alan Ladd, Edward G. Robinson, Joanne Dru, William Demarest, Paul Stewart, Perry Lopez, Fay Wray, Nestor Paiva, Willis Bouchey, Anthony Caruso, Tina Carver, Rod(ney) Taylor, Jayne Mansfield, Mae Marsh, Tito Vuolo.

Cinematography: John F. Seitz

Film Editor: Folmar Blangsted

Stunts: Paul Baxley

Original Music: Max Steiner

Written by Martin Rackin, Sydney Boehm from a book by William P. McGivern

Produced by George C. Berttholon, Alan Ladd

Directed by Frank Tuttle

Alan Ladd had always been
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The Birth of an Abbreviation Abhorred by the Budding U.S. Film Industry

The Birth of an Abbreviation Abhorred by the Budding U.S. Film Industry
“Movies” or…? Quo Vadis: One of the first feature films ever made, Enrico Guazzoni's Italian epic came out in 1913, going on to become a global sensation. Should American “moving picture” fans of the early 1910s have referred to it as a “photoplay” or a “movie”? Silent bites: The birth of 'the movies' In 1926, in her native England, Iris Barry published what is generally considered the first serious historical study of the motion picture as an art form. Utilizing the British slang term, she chose to title it Let's Go to the Pictures. Later that same year, when the book was published in the United States, the title was changed to Let's Go to the Movies, in recognition of what had become the most familiar form by which the motion picture was known – and would continue to be known.[1] The history of the term “movies” is a fascinating one, dating
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One of the Greatest Film Noir Stars of Them All? Four Crime Classics to Remember

Dana Andrews movies: Film noir actor excelled in both major and minor crime dramas. Dana Andrews movies: First-rate film noir actor excelled in both classics & minor fare One of the best-looking and most underrated actors of the studio era, Dana Andrews was a first-rate film noir/crime thriller star. Oftentimes dismissed as no more than a “dependable” or “reliable” leading man, in truth Andrews brought to life complex characters that never quite fit into the mold of Hollywood's standardized heroes – or rather, antiheroes. Unlike the cynical, tough-talking, and (albeit at times self-delusionally) self-confident characters played by the likes of Alan Ladd, Edward G. Robinson, James Cagney, Humphrey Bogart, and, however lazily, Robert Mitchum, Andrews created portrayals of tortured men at odds with their social standing, their sense of ethics, and even their romantic yearnings. Not infrequently, there was only a very fine line separating his (anti)heroes from most movie villains.
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British Film and Hollywood: What If Hitchcock Had Stayed in the UK? Interview with Film Historian Anthony Slide

Alfred Hitchcock, Cary Grant, and Ingrid Bergman: The 'Notorious' British (Hitchcock, Grant) and Swedish (Bergman) talent. British actors and directors in Hollywood; Hollywood actors and directors in Britain: Anthony Slide's 'A Special Relationship.' 'A Special Relationship' Q&A: Britain in Hollywood and Hollywood in Britain First of all, what made you think of a book on “the special relationship” between the American and British film industries – particularly on the British side? I was aware of a couple of books on the British in Hollywood, but I wanted to move beyond that somewhat limited discussion and document the whole British/American relationship as it applied to filmmaking. Growing up in England, I had always been interested in the history of the British cinema, but generally my writing on film history has been concentrated on America. I suppose to a certain extent I wanted to go back into my archives,
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Movie History Catalina Island Style

A long time ago, sometime around 1912, a director by the name of D.W. Griffith packed up his filmmaking wares and took his crew, including favored cinematographer Billy Bitzer and star Mae Marsh, across the water to a relatively mysterious island off the Southern California coast to shoot a short film. The project, Man’s Genesis, subtitled A Psychological Comedy Founded upon the Darwinian Theory of the Evolution of Man (Is that Woody Allen I hear whimpering with envy?), isn’t one for which Griffith is well remembered, in the hearts of either academics or those given to silent-era nostalgia. (One comment on IMDb suggests that no one would ever mistake Griffith’s simple tale of a landmark of human development—man discovers his ability to craft and use tools in order to achieve a specific goal-- for “a serious work of speculative anthropology” and wonders “what the director and his
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Class Disparities and Prostitution Tackled in Early Female Director's Drama

Pioneering woman director Lois Weber socially conscious drama 'Shoes' among Library of Congress' Packard Theater movies (photo: Mary MacLaren in 'Shoes') In February 2015, National Film Registry titles will be showcased at the Library of Congress' Packard Campus Theater – aka the Packard Campus for Audio Visual Conservation – in Culpeper, Virginia. These range from pioneering woman director Lois Weber's socially conscious 1916 drama Shoes to Robert Zemeckis' 1985 blockbuster Back to the Future. Another Packard Theater highlight next month is Sam Peckinpah's ultra-violent Western The Wild Bunch (1969), starring William Holden and Ernest Borgnine. Also, Howard Hawks' "anti-High Noon" Western Rio Bravo (1959), toplining John Wayne and Dean Martin. And George Cukor's costly remake of A Star Is Born (1954), featuring Academy Award nominees Judy Garland and James Mason in the old Janet Gaynor and Fredric March roles. There's more: Jeff Bridges delivers a colorful performance in
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Good and Bad War-Themed Movies on Veterans Day on TCM

Veterans Day movies on TCM: From 'The Sullivans' to 'Patton' (photo: George C. Scott in 'Patton') This evening, Turner Classic Movies is presenting five war or war-related films in celebration of Veterans Day. For those outside the United States, Veterans Day is not to be confused with Memorial Day, which takes place in late May. (Scroll down to check out TCM's Veterans Day movie schedule.) It's good to be aware that in the last century alone, the U.S. has been involved in more than a dozen armed conflicts, from World War I to the invasion of Iraq, not including direct or indirect military interventions in countries as disparate as Iran, Guatemala, and Chile. As to be expected in a society that reveres people in uniform, American war movies have almost invariably glorified American soldiers even in those rare instances when they have dared to criticize the military establishment.
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Gardner, Crawford Among Academy's Career Achievement Award Non-Winners

Honorary Award: Gloria Swanson, Rita Hayworth among dozens of women bypassed by the Academy (photo: Honorary Award non-winner Gloria Swanson in 'Sunset Blvd.') (See previous post: "Honorary Oscars: Doris Day, Danielle Darrieux Snubbed.") Part three of this four-part article about the Academy of Motion Picture Arts and Sciences' Honorary Award bypassing women basically consists of a long, long — and for the most part quite prestigious — list of deceased women who, some way or other, left their mark on the film world. Some of the names found below are still well known; others were huge in their day, but are now all but forgotten. Yet, just because most people (and the media) suffer from long-term — and even medium-term — memory loss, that doesn't mean these women were any less deserving of an Honorary Oscar. So, among the distinguished female film professionals in Hollywood and elsewhere who have passed away without
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Blu-ray, DVD Release: Intolerance

Blu-ray & DVD Release Date: Nov. 5, 2013

Price: DVD $39.99, Blu-ray $49.98

Studio: Cohen Media

D.W. Griffith's 1916 silent epic Intolerance

Just one year after the huge success of his Birth of a Nation, pioneering filmmaker D.W. Griffith was emboldened to prove his faith in the new medium of motion pictures with his historical silent epic Intolerance.

Four separate stories are interwoven: the fall of Babylon, the death of Christ, the massacre of the Huguenots, and a contemporary (early 20th Century) drama — all crosscut and building with enormous energy to a thrilling chase and finale. Through the juxtaposition of these well-known sagas, Griffith joyously makes clear his markedly deterministic view of history, namely that the suffering of innocents makes possible the salvation of the current generation, symbolized by the boy in the modern love story.

Many of the leading stars of the silent screen appear in the classic movie, including Griffith regular Lillian Gish (Broken Blossoms), Mae Marsh,
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Beautiful, Lighthearted Fox Star Suffered Many Real-Life Tragedies

Jeanne Crain: Lighthearted movies vs. real life tragedies (photo: Madeleine Carroll and Jeanne Crain in ‘The Fan’) (See also: "Jeanne Crain: From ‘Pinky’ Inanity to ‘MargieMagic.") Unlike her characters in Margie, Home in Indiana, State Fair, Centennial Summer, The Fan, and Cheaper by the Dozen (and its sequel, Belles on Their Toes), or even in the more complex A Letter to Three Wives and People Will Talk, Jeanne Crain didn’t find a romantic Happy Ending in real life. In the mid-’50s, Crain accused her husband, former minor actor Paul Brooks aka Paul Brinkman, of infidelity, of living off her earnings, and of brutally beating her. The couple reportedly were never divorced because of their Catholic faith. (And at least in the ’60s, unlike the humanistic, progressive-thinking Margie, Crain was a “conservative” Republican who supported Richard Nixon.) In the early ’90s, she lost two of her
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I've been guarded since I was three'

The girl with the dragon tattoo has bagged roles working for Steven Soderbergh, Terrence Malick and Spike Jonze, but she won't be pushed into becoming Hollywood's 'next big thing'

Hollywood's female actors tend to fall into one of two categories when talking about themselves. The sexy starlet types will try effusively to convince you they were tomboys growing up, while the serious actors – irritated to be talking about anything but the art - will begrudgingly allow you to write that they were dark-minded toddlers or troubled teens. So, Rooney Mara: which were you?

"I like that. That's good." She smiles, and it takes her extraordinarily malleable face from blank to beautiful in an instant. "Well, Ok: when I was three or four, I decided to dress up for Halloween as Clara, the crippled girl in the Heidi books. I wanted to make it authentic so I insisted my mom
See full article at The Guardian - Film News »

Could Someone Like Paul Rudd or Will Ferrell Become an Extra in Two Decades?

In Hollywood Unknowns, you also talk about numerous silent-era stars who became extras following the Crash and the coming of sound. That's kind of having someone like Paul Rudd or Kate Beckinsale or Will Ferrell reduced to the status of extras within the next decade. Why couldn't those veterans find work at the very least as supporting players? Being in silent films meant that you were regarded as a silent star. For most, once a silent player always a silent player. And Rudd and Beckinsale will never have to work as extras because they have substantial, guaranteed Screen Actors Guild retirement benefits, based on their current earnings, and those benefits were not available to silent players in pre-Screen Actors Guild days. And what about stars or top featured players -- besides the aforementioned Mae Clarke -- in talking pictures? Did some of them also end up as extras? There were
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New this Week: ‘Hugo,’ ‘The Muppets’ and ‘Super 8 (DVD)’

Hitting movie theaters this weekend:

Arthur Christmas - James McAvoy, Jim Broadbent, Bill Nighy

Hugo - Asa Butterfield, Chloë Grace Moretz, Christopher Lee

The Muppets - Amy Adams, Jason Segel, Chris Cooper

Movie of the Week


The Stars: Asa Butterfield, Chloë Grace Moretz, Christopher Lee

The Plot: Set in 1930s Paris, an orphan who lives in the walls of a train station is wrapped up in a mystery involving his late father and an automaton.

The Buzz: Director Martin Scorsese is not known for his family films. Throughout his career Scorsese has stuck to churning out gritty/grisly street films, realistic & vibrant tales about the harshness of life, about the hard-nose battle of good versus evil, of right versus wrong (of moral relativity), and of psychoses versus neuroses. His films are fairly hardcore and as thus are very often hard-r. His latest offering in Hugo, looks to be an
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Found Film Not Alfred Hitchcock's First

Betty Compson, Clive Brook, Woman to Woman Despite some confusion in various reports, the 1923 melodrama The White Shadow, half of which was recently found at the New Zealand Film Archive, is not Alfred Hitchcock's directorial debut. It isn't Hitchcock's first ever credited effort, either. That honor apparently belongs to Woman to Woman, which came out earlier that same year. The White Shadow, in fact, was a Woman to Woman afterthought. Both movies were directed by Graham Cutts, both were produced by future British film industry stalwarts Victor Saville and Michael Balcon, both were based on works by Michael Morton (the earlier film was taken from a Morton play; the later one from a Morton novel), and both starred Clive Brook and Hollywood import Betty Compson. (Compson plays two parts in both films as well; but whereas in The White Shadow she plays two actual characters, in Woman to Woman
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Old Ass Movies: The Birth of a Nation (1915)

Every Sunday, Film School Rejects presents a film that was made before you were born and tells you why you should like it. This week, Old Ass Movies presents the controversial story of how the Kkk saved the south and how D.W. Griffith invented every camera trick you love. The Birth of a Nation (1915) Directed by: D.W. Griffith Starring: Lillian Gish, Mae Marsh, Robert Harron, and Walter Long Growing up under the shadow of a grandfather who was a Civil War historian living in Arkansas, a grandmother who knew just as much, and two parents who collected antiques from the era, it was difficult to live in the present – especially around Christmas time when everyone would get together and exchange Mourning Jewelry and buttons that fell off the coats of dying men to be buried in the loam of Mississippi. It was also a melting pot of history and visions of where we, as
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D.W. Griffith in California

Los Angeles Filmforum will present "D.W. Griffith in California," on Sunday, Nov. 15, at 7:30 pm. at the Echo Park Film Center. At the screening, film scholar Tom Gunning will discuss D. W. Griffith and his early Californian films. Six of those Griffith productions will be screened: Man’s Genesis (1912, 17 min); The New Dress (1911, 17 min.); The Massacre (1914, 20 min); The Unchanging Sea (below right, 1910, 14 min.); The Sands of Dee (1912, 17 min); and The Female of the Species (1912, 17 min). All in 16mm, with live musical accompaniment by Cliff Retallick. Among the early stars featured in those shorts are Blanche Sweet, Mae Marsh, Robert Harron, Arthur Johnson, Wilfred Lucas, and, [...]
See full article at Alt Film Guide »

See also

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