Fragments: Surviving Pieces of Lost Films

This is like a home movie where the guys sit around and talk about the films. Less talk and more films would be better. And if there is going to be talk, more incisive analysis would be nice.

This is an excellent compilation of exactly what the title says, "Fragments: Surviving Pieces of Lost Films," produced by Randy Haberkamp and the good folks at "Flicker Alley". Some of this material has been available, usually as a "bonus feature" on an accompanying home video release. But it's great to have so much of it available in one place. There is no explanation for some famous footage not included - possibly the "fragments" starring Greta Garbo have received a new copyright. Her "The Divine Woman" reel has been shown fairly frequently on Turner Classic Movies (TCM), which also shows this documentary.

Our hosts are Michael Pogorzelski from the Academy Film Archive, and Mike Mashon from the Library of Congress. We begin with an explanation and look at "paper prints" and proceed with a small look at Theda Bara's "Cleopatra" (1917). Very little of Ms. Bara's work survives, and the tiny fragment looks like it may be her best. Next is a more generous sample from Colleen Moore's "Flaming Youth" (1923). Clara Bow is represented by "Red Hair" (1928) and "Three Week Ends" (1928). These three films appear to have been typical, but charming. This is also the case with Douglas Fairbanks' "He Comes Up Smiling" (1918).

Before Doug's romp comes one of "Fragments" highlights, the surviving footage from "The Way of All Flesh" (1927) starring Emil Jannings. This performance was noted as one of the era's best by the "Academy Awards" (and others), and Mr. Jannings' characterization is still dazzling. The two surviving portions of "The Way of All Flesh" are quite striking in that they form a "story" of their own, thanks to fate (and narration). Donald Keith, who was frequently co-starred with Clara Bow, is also memorable. Also seen is the only surviving portion of "The Miracle Man" (1919), one of the most legendary of all lost films.

A newly discovered reel of John Ford's melodrama "The Village Blacksmith" (1922) follows a rollicking trailer for his "Strong Boy" (1929) starring Victor McLaglen. Then, in another highlight, "Baby" Peggy Montgomery aka Diana Serra Cary appears to reminisce about the filming of her own "The Darling of New York" (1923). The 93-year-old star is still a darling. More small fragments from big stars are shown, along with trailers from otherwise completely missing films. The final highlight is the surviving footage from the colorful sound picture "Gold Diggers of Broadway" (1929). That's entertainment… let's have a sequel!

******** Fragments (4/3/11) Randy Haberkamp ~ Michael Pogorzelski, Mike Mashon, "Baby" Peggy Montgomery, Emil Jannings

This documentary consists of a couple film historians/preservationists showing clips of surviving footage from missing films. They are almost exclusively silent movies and the fragments are probably mostly of interest to HUGE silent film buffs and historians. However, other folks will not only find the clips of dubious value but the delivery of the hosts is about as dull and lifeless as humanly possible. Any interest and excitement they have about the subject matter is totally lost and this makes the documentary a lot more tedious than it needs to be. There were also a few interviews and the one with Baby Peggy was exceptionally interesting--one of the few highlights of this film shown on Turner Classic Movies.

Overall a little uneven, but that's in part because in any collection such as this, one's interest is bound to be stronger in some areas and not others. What we see here is priceless, little bits of rare films now lost to time. Highlights for me were the fragments of Flaming Youth (1923), starring Colleen Moore, and Red Hair (1928), starring Clara Bow and featuring the only color footage of her. There were also fun trailers for The Great Gatsby (1926), Rough House Rosie (1927) with Clara Bow, and The American Venus (1926), with Esther Ralston, Fay Lanphier, and Louise Brooks. That last one is pretty sexist though, starting with a card reading "Girls! Are YOU the American Venus?" in an oval, and proceeding to the next to give us the detailed bodily measurements of the Venus de Milo (everything you might expect, and then on top of it, Neck 14", Calf 13½", and Ankle 8½"...talk about setting the expectation for a precise body image). The Rough House Rosie trailer says the movie is "the story of a girl who got her men by treating 'em rough"), followed by a clip of Bow walloping a guy for putting his hands on her. The fact that the clips are short makes us wish we could see more, but it also keeps the film moving, as we also wonder what's going to pop up next. Seeing the film damage begin to increase to the point of the footage being completely wiped out is also poignant.

Not a big fan of silent film but I enjoyed seeing clips of "lost" films. I also enjoyed the music. I would like to know the name of the song that was playing during the end credits if possible. Music by Michael D. Mortillo. Couldn't find the name. Would appreciate if someone knows the song could let me know. Haunting piano.