A short review of the silent classic film, Intolerance
For many years to come it is sure to be the last word in pictorial achievement. Not only is it deeply enthralling as entertainment, but it also carries a message of such power that pages of editorials have been written around its theme and its treatment.
An appreciation of Birth of a Nation written 20 years after its opening.
A magazine profile of RKO Studio Dance Director Hermes Pan (1909 – 1990); his work with Fred Astaire (1899 – 1987) and Ginger Rogers (1911 – 1995) and the lasting impression that African-American dance had made upon him. It is fascinating to learn what was involved in the making of an Astaire/Rogers musical and to further learn that even Bill Bojangles Robinson (1878 – 1949) was a fan of the dance team.
Astaire liked the youngster’s blunt answers. He realized the need of a critic who would talk back to a star.
A magazine profile of RKO Studio Dance Director Hermes Pan (1909 – 1990); his work with Fred Astaire (1899 – 1987) and Ginger Rogers (1911 – 1995) and the lasting impression that African-American dance had made upon him. It is fascinating to learn what was involved in the making of an Astaire/Rogers musical and to further learn that even Bill Bojangles Robinson (1878 – 1949) was a fan of the dance team.
Astaire liked the youngster’s blunt answers. He realized the need of a critic who would talk back to a star.
A fabulous three page article from STAGE MAGAZINE on the early career of Cary Grant:
Cary Grant appeared in six Broadway productions and twenty-seven Hollywood pictures before anybody took notice. Then he played a dead man.
The world, with the exception of those bright eyed youngsters under the age of five, has waited pretty breathlessly for the reappearance of a forlorn little figure in a derby, baggy trousers, and disreputable shoes. The fact that his reappearance was to be under the sinister title, Modern Times alarmed not a few of us. This hapless creature, whose name by the way, is Charlie Chaplin, had come to mean an unchangeable element to us…Disguised in current mechanistic ingenuity, veiled in lukewarm disapproval of the plight of the working man, and tinted a slight shade of Red, it remain, delightfully and irrevocably, Chaplin.
The Time Magazine review of Charlie Chaplin’s film, A Woman of Paris, fell in line with many other reviews of the work: they all believed that Chaplin, as director, had moved the ball forward insofar as the development of film – and Time hoped that they had seen the end of Chaplin the clown. However, the 82 minute film was a commercial flop, primarily because he wasn’t in it (they chose not to publicize that he played an extra’s roll for one quick scene).
The first film Chaplin had directed was The Kid (1922) – and you can read about that here…
This, the much-discussed final speech in The Great Dictator, is more than a climax and conclusion to Chaplin’s newest film, it is a statement of Chaplin’s belief in humanity, a belief in which his creative powers and artistic development are deeply rooted.
Hope…I’m sorry, but I don’t want to be an emperor. That’s not my business. I don’t want to rule or conquer anyone. I should like to help everyone, if possible -Jew, Gentile -black man -white.
This short column appeared in 1916 answering the question for so many concerning the salary of Charlie Chaplin who served as his own inspiration for his famous character, the Little Tramp.
Shortly before his movie The Kid was released, Charlie Chaplin (1889 – 1977) wrote a few remarks on the discovery of Jack Coogan, and the picture built around him in the attached Vanity Fair article, The Marvelous Boy of the Movies.
