1993 FALL CINESATION SCHEDULE

Friday

12:00pm Man About Town
12:15pm Night Cry
1:10pm Blood and Thunder
1:20pm Police Reporter
1:40pm Smiling Lieutenant
3:20pm Vitaphone Short #1
3:30pm Sawmill
3:50pm Naughty Boy
4:00pm Scarlet Empress

Dinner Break

8:00pm Hurricane Express - Chapter #5
8:20pm Police Reporter
8:40pm Vitaphone Short #2
8:50pm Hunchback of Notre Dame
10:50pm Police Reporter
11:10pm Back Pay

Saturday

8:30am Surprise Grab Bag
9:00am Flip The Frog
9:10am The Gordon Berkow Compilation
9:50am Vitaphone Short #3
10:00am Police Reporter
10:15am His Mouse Friday
10:30am Tell It To The Marines

Lunch

2:00pm Road To Ruin
3:00pm Police Reporter
3:20pm Gordon Berkow Presents
4:40pm Vitaphone #4
5:00pm Girl Without A Soul

Dinner Break

8:00pm Cartoon
8:10pm Police Reporter
8:15pm The Spoilers
10:25pm Something New
11:20pm Nju

Sunday

9:00am Vitaphone #5
9:05am Police Reporter
9:30am Visions of Light
11:00am Cartoon
11:10am Police Reporter
11:30am Hell's Heroes
1:00pm Roman Scandals

FRIDAY

MAN ABOUT TOWN (16mm print)

THE NIGHT CRY (Warner Brothers-1926)
CAST Rin-Tin-Tin, June Marlowe, Don Alvarado, and John Harron DIR: Herman Raymaker SCENARIO EWART ADAMSON
Warner Brothers' attitude about actors was summed up when Sam Warner said, " Who the hell wants to hear actors talk?" Rin-Tin-Tin was the perfect actor for this struggling studio, and their first great star. Rinty, as he was called, had an instant smash in WHERE THE NORTH BEGINS, (1923). His studio was so surprised and elated by this success that they quickly trained eighteen dogs to understudy their new gold mine. The public loved Rinty and a publicity department was quickly whipped together to churn out new information. In addition to his one thousand dollar a week salary, it was revealed that his contract stipulated an on set orchestra for mood music, a diamond-studded collar, and Chateaubriand for lunch. Warners made a total of nineteen of these action-adventures, and they kept the studio afloat until the Vitaphone changed the rules and the studio's status forever.

BLOOD AND THUNDER
CAST Grady Sutton

POLICE REPORTER (Weiss Brothers Art Class-1928)
CAST: Walter Miller, Eugina Gilbert. DIRECTOR: Jack Nelson.
The outdoor action sequences and the quality acting belay the Poverty Row origins of this rare 10 chapter action packed serial.
(35mm prints courtesy of George Eastman House)

THE SMILING LIEUTENANT (Paramount-1931)
CAST Maurice Chevalier, Claudette Colbert, Miriam Hopkins, Charles Ruggles, Hugh O'Connell, George Barbier, Elizabeth Patterson DIR: Ernst Lubitsch, SCREENPLAY Ernest Vajdo, Samson Raphaelson, MUSIC Oscar Straus LYRICS Clifford Grey.
Director Ernst Lubitsch was so strong and Paramount was so desperate to ward off falling depression receipts that they allowed him to buck the current public apathy to movie musicals. The result, THE SMILING LIEUTENANT, is a delightful confection, filled with sparkling performances, a lovely score, and Maurice Chevalier at his Parisian best. Lubitsch remembers his silent film training and keeps dialogue to a minimum, allowing the visuals to subtly seduce the viewer. This little seen film is easily the peer of the more famous Lubitsch efforts THE LOVE PARADE and MONTE CARLO.
Paramount won the triple crown with this picture. The three leads were able to recreate their roles for the French version of the film. Hopkins, in her first Hollywood film, was unwilling to have her Georgia finishing school French shown off next to Chevalier and Colbert's genuine article. She was also concerned about appearing as an unattractive woman. Lubitsch assured her that her accent was "charming," and Chevalier did so much assuring that it destroyed her marriage to writer Austin Parker. Her subsequent career in Hollywood was variable, and her temperament was legendary, but Lubitsch was still sufficiently charmed to cast and direct her in two classic films; TROUBLE IN PARADISE and DESIGN FOR LIVING.

VITAPHONE - JOLLY COBURN AND HIS ORCHESTRA (1936)
(35mm print courtesy Library of Congress)

SAWMILL - CAST Larry Seaman

NAUGHTY BOY - CAST Lupino Lane

THE SCARLET EMPRESS (Paramount-1934)
CAST Marlene Dietrich, John Lodge, Same Jaffe, Louise Dresser, C. Aubrey Smith DIR: Josef von Sternberg SCREENPLAY Manuel Komroff PHOTOGRAPHY Bert Glennon SETS Hans Dreier, Peter Ballbushch and Richard Kollorsz COSTUMES Travis Banton.
For those of you who enjoyed exploring the dark underside of a fictional orient last year with THE SHANGHAI GESTURE, we are pleased to offer you von Sternberg's sumptuous tour of
eighteenth Century Russia. This biographical fantasy based loosely on the life of Catherine II is visually one of the great black and
white films. It's astonishing use of texture and luminous lighting reveal Catherine's dark empire as a cruel and dangerous dream,
populated by brutal opportunists. Catherine transcends her innocent background and becomes a military and sexual power. There is never
any doubt that she will triumph over the vulgar Empress Elizabeth, the sardonic Prince Alexei, and her mad husband, played like a
sociopathic Harpo Marx by Sam Jaffe.
THE SCARLET EMPRESS may be Hollywood's last silent film.
Most of this film's famous set pieces are staged without dialogue, and the director's heavy use of titles and montage recalls an earlier age. It is impossible not to be bowled over by von Sternberg's
sumptuously overfilled screen. This erotic tribute to Mother Russia is really the ultimate star showcase. Dietrich is presented like a priceless Faberge Easter egg. The camera caresses her with every possible
combination of light and shadow, turning her into a fabulous blond icon. THE SCARLET EMPRESS is the climax of the von Sternberg-Dietrich collaboration. Paramount allowed one more "Excursion into Style" with
THE DEVIL IS A WOMAN, (1935). The public found these pictures weird and old fashioned, and rejected both of these exotic, baroque art
films.
Catherine the Great seems to be bad luck for actresses. Among the women who have Slipped on the Steppes are Elizabeth Bergner, who,
directed by husband Paul Czinner, starred in a turgid film on Catherine the Great the same year of THE SCARLET EMPRESS.
Talullah Bankhead found no acclaim in A ROYAL SCANDAL (1946). Worst of all was Mae West in the play "Catherine Was Great." It was supposed to be a serious drama, but by the time it got to
Broadway Mae had incorporated historical lines like, "Oh, honey, is that your sword? Or are you just glad to see me?"
(35mm print Courtesy of The George Eastman House)

Dinner Break

HURRICANE EXPRESS - Chapter 5 (35mm print)

POLICE REPORTER

VITAPHONE SHORT -
RED NICHOLS AND HIS WORLD FAMOUS FIVE PENNIES (1936)
(35mm print courtesy Library of Congress)

THE HUNCHBACK OF NOTRE DAME (RKO-1939)
CAST Charles Laughton, Sir Cedric Hardwicke, Thomas Mitchell, Maureen O'Hara, Edmond O'Brien, Alan Marshal, Walter Hampden DIR: William Dieterle, SCREENPLAY Sonya Levien,
SCORE Alfred Newman.
It seems incredible that Hollywood studios came to treat their best products as just so many feet of celluloid. Most major films were
re-released over and over, often pruned and adjusted for new audiences. When television came along, prints were cut to fit specific
time slots. Many of us who were educated on the video screen by various "Million Dollar Movies" had to wait for years to finally see
some features as they were originally presented. Of course, much of this excised footage was lost forever.
THE HUNCHBACK OF NOTRE DAME is one of the finest films produced by RKO. An unsentimental and harsh look at both the middle ages and human nature, this remake is far superior to the 1923 Lon Chaney version. Charles Laughton had great empathy for the misshapen bell-ringer, and his passion and understanding are electrifying. The sequence
when he swoops down to rescue the Gypsy girl is both boldly theatrical and richly cinematic.
This print is the original, premiere version, complete with it's high fidelity soundtrack to enhance Newmans's rich, bravura score. This will be the first time that this film has been seen complete since RKO recut the film in 1945. (35mm print courtesy of The Library of Congress)

POLICE REPORTER

BACK PAY (Paramount-Cosmopolitan-1922)
CAST Seena Owen, Matt Moore, J. Barney Sherry, Ethel Duray, Charles Craig, Jerry Miller
DIR: Frank Borzage, SCENARIO Francis Marion.
By the end of the first World War, escapist entertainment blossomed in all media. 1919 was a big year for writer Fannie Hurst. Her book of short stories was a best seller, and the title story, HUMORESQUE, was brought to the screen the following year. Borzage, attracted to this kind of romantic material, directed several adaptations of Hurst's work
to the screen, including THE GOOD PROVIDER, (1922).
He had a very successful working relationship with the powerful and experienced scenarist Francis Marion, who had years of experience dealing with far more cloying material.
With the help of her director and writer, Seena Owen, country girl, (and former Princess Beloved in Griffith's INTOLERANCE,) makes it
to the big city and back home again without too many convoluted detours. We are lucky to have this print, with most of it's original footage intact. Hankies will be available in the outer lobby.
(35mm Print courtesy Library of Congress)

SATURDAY

FLIP THE FROG (35mm print)

THE GORDON BERKOW COMPILATION
A DAY WITH THE GYPSIES
BOYS WILL BE JOYS
ALL STAR FREAKS
EXPOSING EVOLUTION

VITAPHONE SHORT
JOSEPH E. HOWARD, AMERICA'S POPULAR COMPOSER
(35mm print courtesy Library of Congress)

POLICE REPORTER

HIS MOUSE FRIDAY - TOM & JERRY (35mm print)

TELL IT TO THE MARINES (MGM-1926)
CAST: Lon Chaney, Eleanor Boardman, Carmel Myers, Warner Oland, William Haines DIR: George Hill, SCENARIO Richard Schayer.
Lon Chaney was certainly Hollywood's most versatile actor. Starting in the early teens as a general utility actor and heavy, he signed up with Universal's subsidiary, Bluebird, and played in everything from Westerns to A DOLL'S HOUSE. The studio remained unimpressed and Chaney became the first member of the club of future stars, (including Bette Davis, Humphery Bogart and Myrna Loy,) tossed aside by Universal.
He freelanced to Paramount to make THE MIRACLE MAN (1919,) which made three million dollars world wide. Universal thought for a minute
and offered him a contract that would continue to allow him to freelance. He created a gallery of monsters and psychopaths in series
of hugely successful films, climaxing with THE HUNCHBACK OF NOTRE DAME. Naturally, Universal did not renew his contract. He signed with
the newly formed MGM, and starred in their first release HE WHO GETS SLAPPED, (1924,) with Norma Shearer and John Gilbert. He
insisted that his new studio hire his old compatriot, director Tod Browning, who was drinking his career away. Together, they made
some of MGM's most satisfying silent films.
The Man of a Thousand Faces could bring home a hit without his make-up kit. TELL IT TO THE MARINES was MGM's number two hit of 1926, just behind FLESH AND THE DEVIL. Chaney's portrayal of
Sgt. O'Hara was so successful that the Marine Corps made him their first "honorary Marine. Chaney went back to the grotesque until his last two films, LAUGH CLOWN LAUGH, (1928,) and the talkie version of the 1925 hit THE UNHOLY THREE, in which he demonstrated a voice that may have been as versatile as his silent performances. We will never know; he was taken, much too soon, by throat cancer in 1930.
(35 mm print courtesy of The George Eastman House)

Lunch Break

ROAD TO RUIN (True Life Photoplays-1934)
CAST Helen Foster, Richard Tucker, Neil O'Day, Glen Boles
DIR: Melville Shyer and Mrs. Wallace Reid
Wallace Reid's Death from Studio supported morphine addiction was on of the first great Hollywood scandals. His wife, actress Dorothy
Davenport, purposed to censor-czar Will Hays a film on drug addiction. The result was HUMAN WRECKAGE (1923), with Bessie Love. Audiences were highly titillated, and Davenport, now billed as
Mrs. Wallace Reid, found a new career as producer-director of what were supposed to be "social problem" films. Often, she would tour with the films, lecturing on whatever issue was being exposed. By 1934,
her films were playing the seedier burlesque and sensation houses. ROAD TO RUIN is a torrid trip down the much trodden primrose
path with actress Helen Foster. She is accompanied by her father, who realizes much too late that perhaps his parenting was a little lax. Absurd dialogue, heavy moralizing and a terrific "hot party" scene makes this
film an A-List groaner, and a delight.
(35mm Nitrate Print)

POLICE REPORTER

GORDON BERKOW PRESENTS
DENTAL FOLLIES - Pinky Lee
MYSTERY CARTOON (can you identify it?)
JUDY GARLAND OUTTAKE FROM ANNIE GET YOUR GUN
AIR ACE
WALTER FUTTER'S CURIOSITY

VITAPHONE SHORT
RUBINOFF AND HIS ORCHESTRA WITH JANE SARGENT (1933) (35mm print courtesy Library of Congress)

THE GIRL WITHOUT A SOUL (Metro-1917)
CAST: Viola Dana, Robert Walker, Fred Jones. DIR: John Collins.
Unless a new title turns up, this will be the end of CINESATION'S John Collins cycle. Collins, with his wife Viola Dana, created a successful production unit at Metro that produced a highly successful mix of social problem dramas, adventures, and rip roaring Melodrama, (last year's BLUE JEANS). The following year, Collins was a victim of the influenza epidemic. Dana continued as a popular silent star, but never again achieved the kind of success that she had with Collins.This film continues Collins interest in rural themes and affords Dana a duel role, as twin sisters. Collins' tight control over his material and Dana's carefully shaded characterizations save the trite story and create an enjoyable slice of rustic Americana.
(35mm print courtesy of The George Eastman House)

Dinner Break

CARTOON - HECKLE AND JECKLE (35mm print)

POLICE REPORTER

THE SPOILERS (Paramount-1930)
CAST: Gary Cooper, William (Stage) Boyd, Betty Compson, Kay Johnson, Harry Green, Slim Summerville, James Kirkwood, Oscar Apfel.
DIRECTORS David Burton and Edwin Carewe, SCREENPLAY Bartlett Cormack and Agnes Brand Leahy.
This hardy Rex Beach tale has been told five times on the screen. This, the first sound version, is number three, and is considered to be the best of the bunch by those lucky enough to have seen it. Paramount's THE SPOILERS has been tied up since Universal bought the rights for their remake in 1942, staring John Wayne and Marlene Dietrich. It has been unavailable for screening for so long that some Cooper filmographies do not even acknowledge its existence.
The centerpiece of this Klondike-gold rush story is the famous fight, which gets bigger and more violent each time there's a new cast. During location filming in the Sierras, newspapers carried the story that the cast had been trapped by a snowstorm and work crews were working feverishly to effect their rescue. In reality, the story was a hoax planted by a Paramount publicity agent but no one ever caught on to the gag. Audiences loved this adventure, and made THE SPOILERS one of the first talkie Western hits. (35mm print courtesy of Library of Congress)

SOMETHING NEW (1920)
CAST: Nell Shipman.
A delightful film which has just been restored, with its proper tints and tones, by D.J. Turner and his staff at the National Archives of Canada.
A bandit kidnaps a beauty and heads into the badlands. Our trusty hero hops into his 1920 Maxwell (what else) and gives chase over the rugged terrain. The whole feature could have been a commercial for the durability and stamina of Jack Benny's favorite car!
(35 mm print courtesy of National Archives of Canada)

NJU (UFA-1923)
CAST: Elizabeth Bergner, Emil Jannings, Conrad Veidt
DIR: Paul Czinner.
After the Great War, Germany struggled to establish a motion picture industry. One of the advantages of silent film was that it was
a relatively simple matter to convert a picture to a new language. Films like THE CABINET OF DR. CALIGARI, METROPOLIS and the
exotic melodramas of Lubitsch exposed American audiences to European talent. Theatres like New York's 55th Street Playhouse specialized in foreign films, although picture goers often had to wait several years for the films to cross the Atlantic. NJU, re-titled HUSBANDS OR LOVERS, didn't make it to the U.S. until late 1927.
NJU arrived in America riding on Janning's name. By 1928, he was considered, because of his performances in films like VARIETE and THE
WAY OF ALL FLESH, to be the finest actor in films. Director Czinner and his wife Bergner were famous in Europe for their stage work,
and would go on to collaborate on everything from Ibsen to O'Neil.
By the end of the decade the three lead actors and the director had international reputations. They later discovered that their ties to Germany would limit or ruin their careers. Bergner, who, fled her native Vienna in 1933 to escape the growing Nazi machine, angered her new British countrymen when she immigrated to Canada at the very beginning of the Second World War.
Her career never recovered. Veidt ended he career playing evil Huns in Hollywood and died before the war was over. Jannings, after alienating everybody and refusing to learn passable English, returned to Germany and was eventually made the head of UFA, where he produced and acted in anti-British and anti-Jewish films. For this, and his involvement with Goebble's Ministry of Propaganda, he was black-listed by the Allies
and died in 1950, almost universally disliked. With him was his fifth wife, the former Mrs. Conrad Veidt.
(35mm print courtesy Library of Congress)

SUNDAY

VITAPHONE SHORT
BENIMINO GIGLI "Cavalleria Rostcana" (1926)
(35mm print courtesy Library of Congress)

VISIONS OF LIGHT (1992) A documentary by Arnold Glassman, Todd McCarthy and Stuart Samuels.
This Academy award nominated film is perfect for the Temple's big screen; a detailed tribute to the art of motion picture cinematography. Concentrating on the artists themselves, this film touches on careers from Billy Bitzer to Gordon Willis. McCarthy knows the right questions to ask, and the interviews are as strong as the visuals. In the New York Times, Vincent Canby wrote, "This 90 minute documentary is so energizing that when you leave Film Forum. . . you'll want to rush out to see. or see again virtually every film that has just been recalled." (35mm print courtesy of Kino International)

TOONERVILLE TROLLY (35mm print)

POLICE REPORTER

HELL'S HEROES (Universal-1929)
CAST: Charles Bickford, Fred Kohler, Raymond Hatton.
DIRECTOR: William Wyler
This third filmed version of THREE GODFATHERS was William Wyler's first major critical success. The uncompromising story of three badmen who sacrifice their lives to save a child was shot in the Mojave Desert and the Panament Valley in blistering heat of well over 100 degrees.
The desert heat was further heightened by the conflict between leading man Charles Bickford and his director. Bickford had a great disdain for Wyler and referred to him as "the Golem", considered the script "crummy" and the crew "inexperienced." Bickford and Wyler clashed over character and concept and much of the long famous tracking shot near the end of the film was done without Bickford after he left the film. The picture went on to become a critical and commercial success and grossed $18,000 in its first week in New York, broke house records in San Fransico and Chicago and earned Wyler a new, more lucrative contract with Universal. The film was Universal's first major sound release but this version is the rare silent created for those houses that had not converted to sound equipment. To watch it today is to glory in the height of the silent film and wonder how sound could make any better.
(35mm print courtesy of George Eastman House)

ROMAN SCANDALS (Samuel Goldwyn - 1933)
CAST: Eddie Cantor, Ruth Etting, Gloria Stuart, David Manners,
Edward Arnold DIR: Frank Tuttle
The perfect way to end the weekend. A lighthearted time-travel romp featuring Alfred Newman's music, Busby Berkeley's production numbers and a wild stunt-filled chariot race. Cantor leaves the Depression and "walks" back to Old Rome, defeats a wicked queen, saves Emperor Arnold and smooths the path of true love.
This was Lucille Ball's first big break in movies (she's in the harem) and Berkeley's last film for Goldwyn.

ACKNOWLEDGEMENTS:
Organists: Bob Vaughn, Mark Kotishion and Phil Carli
Pianist: Phil Carli