Todo el silente de la red en la Mula

Época del cine silente (silent films), hasta 1936 inclusive. (<= 1936)
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Hay una potente herramienta para armar la plantilla a la hora de publicar: el Generador de fichas de cine.
There is a powerful tool to design the post at time of publishing here: the Generator of cinema´s templates.

Re: Todo el silente de la red en la Mula

Notapor clasicista » Jue Jun 02, 2011 2:14 pm

Hola!

soy nuevo y soy italiano...

quiero ajudar pero no tengo mucho tiempo ahora; asì pongo aquì los enlaces de Otubre (Oktyabr)
està el link torrent y tambien el link eMule ;)

Torrent Link


eD2K link Oktyabr.avi [1.39 Gb] 

eD2K link Oktyabr.ita.srt [20.5 Kb] 
eD2K link Oktyabr.eng.srt [20.0 Kb] 
eD2K link Oktyabr.esp.srt [20.9 Kb] 
eD2K link Oktyabr.fra.srt [20.4 Kb] 
eD2K link Oktyabr.ptb.srt [19.9 Kb] 



espero algun podria postarlo en este foro :hola:
p.s: perdón por los errores :ains:

 [ Add all 6 links to your ed2k client ]
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Re: Todo el silente de la red en la Mula

Notapor clasicista » Jue Jun 02, 2011 8:50 pm

algunos datos del rip:

Código: Seleccionar todo
       General
          Complete name : Oktyabr.avi
          Format : AVI
          Format/Info : Audio Video Interleave
          File size : 1.39 GiB
          Duration : 1h 55mn
          Overall bit rate : 1 728 Kbps
          Writing application : FairUse Wizard - http://fairusewizard.com
          Writing library : The best and REALLY easy backup tool
       Video #0
          ID : 0
          Format : MPEG-4 Visual
          Format profile : AdvancedSimple@L5
          Format settings, BVOP : Yes
          Format settings, QPel : No
          Format settings, GMC : No warppoints
          Format settings, Matrix : Default (MPEG)
          Muxing mode : Packed bitstream
          Codec ID : XVID
          Codec ID/Hint : XviD
          Duration : 1h 55mn
          Bit rate : 1 527 Kbps
          Width : 656 pixels
          Height : 496 pixels
          Display aspect ratio : 4:3
          Frame rate : 25.000 fps
          Resolution : 24 bits
          Colorimetry : 4:2:0
          Scan type : Progressive
          Bits/(Pixel*Frame) : 0.188
          Stream size : 1.23 GiB (88%)
          Writing library : XviD 1.2.0.dev47 (UTC 2006-11-01)
       Audio #1
          ID : 1
          Format : AC-3
          Format/Info : Audio Coding 3
          Codec ID : 2000
          Duration : 1h 55mn
          Bit rate mode : Constant
          Bit rate : 192 Kbps
          Channel(s) : 2 channels
          Channel positions : L R
          Sampling rate : 48.0 KHz
          Stream size : 158 MiB (11%)
          Alignment : Split accross interleaves
          Interleave, duration : 40 ms (1.00 video frame)
          Interleave, preload duration : 500 ms


Imagen Imagen Imagen Imagen

y de la pelicula:

duracion: 115min
IMDB: http://www.imdb.com/title/tt0018217/
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Re: Todo el silente de la red en la Mula

Notapor professor keller » Jue Jun 02, 2011 9:09 pm

Hola clacisista, a partir de tu aporte será fácil para cualquier usuario abrir un nuevo post apenas tenga tiempo.

Gracias por colaborar, bienvenido al foro, y forza Italia! :good:
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Re: Todo el silente de la red en la Mula

Notapor David_Holm » Jue Jun 02, 2011 11:21 pm

Bienvenido, clasicista, gracias por las ganas de aportar.

Iba a compartir en breve el rip de peppermint hay en KG, parece de superior calidad:

Imagen
Imagen
Imagen
Imagen

Código: Seleccionar todo
File Size : 1.60 GB (1,646 MB / 1,685,856 KB / 1,726,316,544 bytes)
Runtime : 1:55:22

Video Codec : XVID
Frame Size : 656 x 492
FPS : 25.00
Video Bitrate : 1793
Bits per Pixel : 0.222

Audio Codec : 0x0055 MPEG-1 Layer 3
Sample Rate : 48000 Hz
192 kb/s


Vosotros diréis cuál preferís.
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Re: The Patent Leather Kid (1927, Alfred Santell)

Notapor zepol » Dom Jul 10, 2011 10:13 am

JGUTII escribió:En la red, avisado por zepol, a quien agradezco el chivatazo desde aquí :good: (y con el que no puedo contactar a través de emule no sé por qué):

The Patent Leather Kid (1927, Alfred Santell) http://www.imdb.com/title/tt0018253/

eD2K link 1927. The Patent Leather Kid (Alfred Santell).Richard Barthelmess,Molly O'Day.avi [1.48 Gb] 

Un saludo para tod@s. :hola:


Pues yo tampoco sé por qué no me puedes contactar, yo a tí te veo siempre en negro. De rodas formas puedes hacerlo también a través de mensaje privado en CC. Hasta ahora no me había enterado de los problemas para descargar este archivo, que yo sigo teniendo compartido.

Saludos.
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Re: Todo el silente de la red en la Mula

Notapor JGUTII » Dom Jul 10, 2011 12:16 pm

zepol escribió:Pues yo tampoco sé por qué no me puedes contactar, yo a tí te veo siempre en negro. De rodas formas puedes hacerlo también a través de mensaje privado en CC. Hasta ahora no me había enterado de los problemas para descargar este archivo, que yo sigo teniendo compartido.


No me he expresado bien, mi mula sí descarga de ti, lo que no puedo es mandarte mensajes, me da siempre error.
El archivo en cuestión, lo completé y lo sigo compartiendo yo también. :hola:
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Re: Todo el silente de la red en la Mula

Notapor Sims » Jue Ago 04, 2011 8:38 pm

El maravilloso documental de Kevin Brownlow con subtítulos en castellano en archivo srt, son 3 episodios y por descarga directa:

Imagen

"Documental de Kevin Brownlow, realizado para la televisión inglesa en el año 1987, y reeditado en DVD por la Cineteca Di Bologna italiana en el 2009, y dividido en tres episodios de casi una hora de duración cada uno."

DD:
(750Mb cada episodio)
Spoiler: +
Ep.01: http://www.megaupload.com/?d=4U5P274M
Ep.02: http://www.megaupload.com/?d=X7QN9WN8
Ep.03: http://www.megaupload.com/?d=NFHEV1FW


FUENTE: sexandthebici.blogspot
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Re: Todo el silente de la red en la Mula

Notapor professor keller » Jue Ago 04, 2011 10:09 pm

Sims escribió:El maravilloso documental de Kevin Brownlow


No le cabe otra palabra que maravilloso para este documental, que atesoraba en VHS desde 1992, por no estar editado en DVD: Fantástica noticia, Sims :good:
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Re: Todo el silente de la red en la Mula

Notapor professor keller » Jue Ago 04, 2011 10:12 pm

David_Holm escribió:Iba a compartir en breve el rip de peppermint hay en KG, parece de superior calidad:

Vosotros diréis cuál preferís.


Yo prefiero el de peppermint :si:
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Re: Todo el silente de la red en la Mula

Notapor hammett » Jue Ago 11, 2011 10:45 am

Recién visto el Documental sobre Buster Keaton. Realmente sensacional e imprescindible. Muchas gracias Sims. :good:
"Si se mueven, ¡Mátalos!"
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Re: Todo el silente de la red en la Mula

Notapor Sims » Jue Ago 11, 2011 3:48 pm

hammett escribió:Realmente sensacional e imprescindible
:si:

Encontré también Harold Lloyd: The Third Genius pero lamentablemente no hay subtítulos en castellano. Sí está en español en youtube en 13 partes aquí:

http://www.youtube.com/watch?v=_0fNXKBjLbA

Igualmente dejo los links del DvdRip, aunque todavía no lo he descargado pero pienso hacerlo antes que se caigan.

Spoiler: +
Harold Lloyd: The Third Genius

EP1
http://fileserve.com/file/U2hWZvM
http://fileserve.com/file/KsZkzfu
http://fileserve.com/file/2aD5btJ
http://fileserve.com/file/STHNwU6
http://fileserve.com/file/C8hzDv9
http://fileserve.com/file/2BCaQ9k
http://fileserve.com/file/SaUq76c
http://fileserve.com/file/7vQ3gK6

Ep2
http://fileserve.com/file/Vf8DTBC
http://fileserve.com/file/MbmcE5G
http://fileserve.com/file/Jdeffrf
http://fileserve.com/file/tsWfwGp
http://fileserve.com/file/yBNAraW
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Re: Todo el silente de la red en la Mula

Notapor beaumont » Dom Sep 04, 2011 10:58 pm

Empiezo a descargar el documental sobre Keaton, que no lo había visto (definitvamente de me debo pasar mucho más a menudo por ci-cl, y por esta parte del foro en concreto). Muchas gracias Sims.
They're coming to get you, Barbara
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Noidan kirot (Teuvo Puro, 1927) SATRip VO + SEng

Notapor JGUTII » Sab Feb 18, 2012 8:54 am

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Friedrich Schiller: Eine Dichterjugend (Curt Goetz, 1923)

Notapor JGUTII » Mié Feb 29, 2012 11:10 pm

Friedrich Schiller: Eine Dichterjugend (Curt Goetz, 1923)

Datos del archivo:

Idioma: Muda con intertítulos en alemán
Calidad: DVDRip
Resolución: 640x480
Formato: avi
Tamaño: 956 MB

Enlaces de descarga subidos por Crazy Monkey de patiodebutacas.org:

http://www.mediafire.com/?pg3j5am66my961w
http://www.mediafire.com/?oxjpng4v3n8l7b9
http://www.mediafire.com/?71w1fvf6gun418u
http://www.mediafire.com/?h9y2a5b5lcwvagj
http://www.mediafire.com/?v8rmsp3qk12yai7
:hola:
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Re: Todo el silente de la red en la Mula

Notapor angel_sanm » Jue Mar 01, 2012 9:25 pm

Pués muchas gracias a los dos,es muy agradable contar con tanta colaboración.
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Re: Todo el silente de la red en la Mula

Notapor lexis nekres » Mié May 09, 2012 11:41 pm

Lo he publicado en SMz y lo traigo aquí también. Saludos.

***los enlaces de descarga directa: en el siguiente mensaje***

57 Thanhouser films (1910-1917)

Imagen

From http://www.thanhouser.org/cdromdetails.htm

The Thanhouser Company, including its successor, Mutual's Thanhouser Film Corporation, was an extraordinarily active and energetic film company which thrived from 1909 through 1917 in New Rochelle, New York. Founder Edwin Thanhouser was the first head of a motion picture studio who had a substantial background in the theater, and was an important leader in the rebellion of the "Independents" against the Motion Picture Patents group associated with Thomas Edison. Thanhouser produced and released to world-wide distribution over 1,000 silent films. Of those productions, only 160 Thanhouser prints are known to have survived, and are located in archives and private collections around the globe. Important Thanhouser screen personalities include James Cruze, who rose to fame as a Hollywood director during the 20's and 30's; Broadway star Jeanne Eagels; and popular Shakespearean actor Frederick Warde, star of the recently discovered 1912 feature film Richard III.


Más información sobre la historia de los estudios Thanhouser en http://www.thanhouser.org/history.htm


***NOTE***
The 57 films are contained in 6 .7z files (over 1 Gb each). In case you should only want to get some of them, I have provided the vimeo link at the bottom of each film's info, and from there you can download exactly the same copy I'm posting.

Nrs. 01 to 12 in Part 1
Nrs. 13 to 18 in Part 2
Nrs. 19 to 28 in Part 3
Nrs. 29 to 38 in Part 4
Nrs. 39 to 49 in Part 5
Nrs. 50 to 57 in Part 6

There's one more film from this studio which I haven't included: An elusive diamond.

The 58 films are contained in 13 DVDs (/VHS) and offered online: http://www.thanhouser.org/videos.htm


Lo que no son pósters son capturas de pantalla reales.

* * *

THE FILMS

01
A dog's love (John Harvey, 1914)
http://www.imdb.com/title/tt0003855/
Imagen
One reel of 1,007 feet, released October 4, 1914.
Fantasy about the love between a child (Helen Badgley "The Kidlet") and her dog ("Shep" The Thanhouser Collie).
Scenario by Nolan Gane
Print source: Museum of Modern Art, 11 minutes, 12 seconds.
Cast: Shep (The Thanhouser Collie, as himself), Helen Badgley (Baby Helen), Arthur Bauer (Helen's father), Ethyle Cooke Benham (Helen's mother), Fan Bourke (a visitor).
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
The fantasy centers on a dog and a child, a universally appealing movie subject. The loyal dog's attachment to his little girl playmate is treated with pictorial beauty and simple, honest sentiment. Reviewers of the time praised the double-exposure passages for their dramatic effectiveness.
Baby Helen, also known as The Thanhouser Kidlet, was a precocious child actress who was very comfortable and expressive in front of the camera. Also a regular, Shep, The Thanhouser Collie, was a well-trained member of the studio's repertory company.
http://vimeo.com/20024709

02
Cinderella (George Nichols, 1911)
http://www.imdb.com/title/tt0001545/
Imagen
One reel of approximately 900 feet, December 22, 1911.
Energetic cinematic pacing and intimacy show rapidly improving narrative technique and realism well beyond the limitations of the stage.
Adapted from the fairy tale by Charles Perrault. Directed by George O. Nichols.
Print source: British Film Institute/National Film and Television Archive, 14 minutes, 23 seconds.
Cast: Florence LaBadie (Cinderella), Harry Benham (the prince), Anna Rosemond, Frank H. Crane, Alphonse Ethier, Isabelle Daintry.
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
An elaborately mounted version of the well-known fairy tale is interrupted by just a few summarizing intertitles. Although in-camera trick photography is important for the story, it is rather conventional, having been introduced over ten years earlier by French filmmaker Georges Méliès. Costumes, sets, and locations make it a visual feast, and some stylistic skill is used with brief shots and cross cutting to quicken the pace as Cinderella flees at midnight.
The intense competition between film producers of the time is indicated by the near-simultaneous release of this one-reel version by Thanhouser, and the release, one week later, of a three-reel version by Selig. A holiday release was just as important then as now - Cinderella was produced the previous summer but released at Christmas.
The next step for Thanhouser was the move to multi-reel features. The release following Cinderella was an adaptation of Rider Haggard's She, Thanhouser's first two-reel release.
http://vimeo.com/20024254

03
Crossed wires (Frederick R. Sullivan, 1915)
http://www.imdb.com/title/tt0003803/
Imagen
Two reels, released June 29, 1915.
Directed by Frederick R. Sullivan. Scenario by Philip Lonergan.
Popular suspense drama in two reels with innovative camera technique, with Florence LaBadie and Morris Foster.
Print source: British Film Institute National Film and Television Archive, 30 minutes, 58 seconds.
Cast: Inda Palmer (Mrs. Angell, an old woman), Morris Foster (Will Drake, her nephew), Florence LaBadie (Flo Drake, his sister), Boyd Marshall (Benton, a civil engineer), Ina Hammer (Susan Watson, the housekeeper), Morgan Jones, Ernest Warde.
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
In the spirit of the enormously popular mystery and crime pulps of the day, Crossed Wires is a suspense picture with a flair for good storytelling and stylistic innovation, strikingly similar to the later filmmaking style of Hitchcock.
An innocent man is accused and convicted of murder, and when the facts finally surface, the innocent man's sister sets about trapping the guilty party. The courtroom scene, though not unusual, includes a dramatic pan between two close-ups for purely psychological effect. Other advances in cinematography are a close-up reaction shot and two insert shots of objects. The surprise psychological climax is also novel. Stylistically, lighting effects for the dark house scenes are very effective, and in one scene a flashlight, the only illumination on the set, is actually shined into the camera. This treatment is decades ahead of its time.
http://vimeo.com/groups/thanhouser/videos/20029340

04
Cymbeline (Lucius J. Henderson, 1913)
http://www.imdb.com/title/tt0002784/
Two reels, March 28, 1913.
Print source: George Eastman House, 22 minutes 15 seconds.
Energetic cinematic pacing and intimacy show rapidly improving narrative technique and realism well beyond the limitations of the stage.
Adapted from the play by William Shakespeare. Photographed by Arthur A. Cadwell.
Cast: Florence LaBadie (Imogen), James Cruze (Leonatus), William Garwood (Iachimo), William Russell (King Cymbeline), Jean Darnell (the Queen).
Original music composed and performed by Raymond A. Brubacher (thanhouser.org/people/Rayb.htm).
Southern California locations vividly suggest both elemental pre-Roman Britain and classical Rome. An energetic cinematic pacing and intimacy show rapidly improving narrative technique and realism well beyond the limitations of the stage. Especially cinematic are the bedchamber scene in the first reel, with its intimate cinematography and acting and special lighting effect, and the battle scene of the second reel, considered very effective in its day.
http://vimeo.com/20528737

05
Daddy's double (Lloyd Lonergan, 1910)
http://www.imdb.com/title/tt0343568/
Imagen
Stars: Frank Hall Crane, Fred Santley and Isabelle Daintry
Daddy's Double: One reel of 960 feet, April 5, 1910.
A one-reel crime drama with crooks, ruses, kidnapping, escape, and a twist, all wrapped in a coherent narrative.
Print source: British Film Institute, 15 minutes 42 seconds. Scenario by Lloyd F. Lonergan. Photographed by Blair Smith. Cast: Frank H. Crane (Daddy), Fred Santley (Daddy’s double), Isabelle Daintry. Music by Raymond A. Brubache thanhouser.org/people/Rayb.htm
This deft comedy about a foiled elopement and assumed identity shows the importance of a carefully worked out scenario for narrative flow. The rule at many other comedy-producing studios was that gags drove the film and story line was incidental. With the talent of Lloyd Lonergan, it was the other way around at Thanhouser from the very beginning. Daddy’s Double was the fourth release by the new studio.
Some minor camera tilting in the ladder scene, minor panning as necessary, and minor cross-cutting hint at the stylistic revolutions to come in the next few years.
A deft comedy about a foiled elopement and assumed identity shows the importance of a carefully worked out scenario for narrative flow.
This early Thanhouser production demonstrates a lot of issues with the early products of this production company, particularly that of the fact that while Griffith at Biograph was developing a new style of acting and Edison and Vitagraph's staff were working on editing techniques that would remake film into its own medium, Thanhouser, at this stage, was stuck with stagebound actors, long proscenium-arch compositions and lack of titles to aid the imagination. There is one slight upward pan to show shift the focus from the school matron arguing with a man to show the girl escaping from a window, and another sideways pan to shift the focus of the shot, but they are done slowly and clumsily. The story itself relies largely on stage makeup and is unconvincing, although the audience of the time almost certainly accepted it. Today, this piece is a curiosity.
http://vimeo.com/groups/thanhouser/videos/20665129

06
Dr. Jekyll and Mr. Hyde (Lucius Henderson, 1912)
http://www.imdb.com/title/tt0002143/
Imagen
One reel of approximately 1,000 feet, January 16, 1912.
James Cruze featured as Jekyll/Hyde in this second U.S. film version of the classic novel by Robert Lewis Stevenson.
Based on the Thomas Russell Sullivan stage adaptation (with romantic story added) for Richard Mansfield, of the novel by Robert Louis Stevenson. Directed by Lucius Henderson.
Print source: Blackhawk Films, 11 minutes, 31 seconds
Cast: James Cruze (Jekyll/Hyde), Harry Benham (Hyde in several scenes), Florence LaBadie (his sweetheart), Marie Eline (little girl knocked down by Hyde).
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
This famous tale, made even more sensational by Richard Mansfield's stage performance, was filmed in at least nine silent versions. Thanhouser's was the second U. S. film version, after Selig in 1908, but was the first based on the stage adaptation.
The Thanhouser version downplays the horror element in favor of the thematic conflict between the good and evil sides of one personality. Perhaps unique among all Jekyll/Hyde adaptations is using two actors to portray the two aspects of the same character. The credits list James Cruze in both parts, but Harry Benham played the crazed Hyde in several scenes, simplifying production. Transformation trickery was done with careful cuts and quick in-camera dissolves with no changes in lighting.
http://vimeo.com/20026199

07
Get rich quick (anon., 1911)
http://www.imdb.com/title/tt0001642/
One reel of approximately 1,000 feet, May 26, 1911.
A moral tale about material wealth, with William Garwood, William Russell and Marguerite Snow.
Print source: The Museum of Modern Art, 13 minutes, Cast: William Russell (bunco artist), William Garwood (husband), Marguerite Snow (wife), Marie Eline (daughter of poor widow).
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
The moral tale, a staple of early film, observes in this case how an elaborate swindle, the "Utopia Investment Corporation," affects one of its participants. The film challenges the quest for material wealth without concern for those victimized.
A review in The Billboard praised Marguerite Snow's acting as being "the most natural we have ever seen in a moving picture, the story as "excellent," and the picture as "splendidly photographed." Another review noted the "novel" technique of "the dissolving picture appearing through the newspaper headlines." The narrative progression is smooth without having to depend on too many titles.
http://vimeo.com/groups/thanhouser/videos/18516051

08
Her nephews from Labrador (anon., 1913)
http://www.imdb.com/title/tt0366564/
One reel split reel with short subject: "Los Angeles the Beautiful" at the end, January 26, 1913.
The young men from Labrador can't keep cool in the middle of a severe winter. They skate on the ice, attired simply in bathing suits, and plunge repeatedly into the icy water. There is no faking in the picture.
Print source: Museum of Modern Art, 12 minutes 38 seconds.
Cast: Billy Noel (a nephew), Ed Brady (a nephew).
Alternate (British release) title: The Nephews from Labrador.
Original music composed and performed by Ben Model (silentfilmmusic.com).
Can’t-believe-your-eyes authenticity of film is found in "Her Nephews from Labrador," a lighthearted story as a vehicle for two New Rochelle residents, Billy Noel and Ed Brady. They were locally famous for the antics they portray here without stunt doubles and without any deception-ice skating in their bathing suits and swimming in an icy pond in New Rochelle’s Hudson Park.
http://vimeo.com/groups/thanhouser/videos/21136438

09
His great uncle's spirit (anon., 1912)
http://www.imdb.com/title/tt0339154/
Imagen
One reel of approximately 1,000 feet, March 8, 1912.
Full of amazing trick situations that will leave you dazed and delighted!
Print source: George Eastman House, 14 minutes 9 seconds.
Cast: George Ober (miser)
Original music composed and performed by Ben Model (silentfilmmusic.com).
Rapid advancement in film technique is seen in His Great Uncle’s Spirit. Especially in the opening theater sequence, and in the climactic “transformation” sequence, several different shots are edited together to create a fluid, dynamic scene. Cinematography shows the first spark of flexibility with a couple of tilting movements. There is a new energy in direction with strong fore-to-back staging. There are also some insert close-ups and some relatively unusual medium close-ups of action.
Despite all the stylistic skill, the story is the entertainment, about a vaudeville magician down on his luck, who takes a secretarial job and uses magic tricks to transform his mean skinflint boss into a generous man.
Ben Model’s expert organ accompaniment indicates how effective the music can be in, among other things, foiling the most extremely emotive silent movie acting.
http://vimeo.com/20666039

10
His uncle's wives (Lawrence Marston, 1913)
http://www.imdb.com/title/tt0496739/
One reel split with "The Seven Ages of the Alligator," 686 feet, February 2, 1913.
An artist unexpectedly inherits six wives who come to him from his uncle in Constantinople. His wife makes serious objections, and he finally packs them off to join a theatrical troupe, and happiness is restored. Split with "Seven Ages of an Alligator" (vimeo.com/21138861).
Print source: Library of Congress, 9 minutes 6 seconds.
Cast: Jean Darnell, Harry Benham.
Original music composed and performed by Ben Model (silentfilmmusic.com).
This simple situation comedy enjoys opulent sets of the home of an already-married New York City painter who inherits a harem, then finds a way to dispose of them. Though silly, the premise could fill a 2-hour movie today, plus sequels. Though the scenarist is unrecorded, it is likely Lloyd F. Lonergan who loved the device of inheritance to drive the plot.
http://vimeo.com/groups/thanhouser/videos/21136320

11
In a garden (anon., 1912)
http://www.imdb.com/title/tt0435050/
One reel of approximately 1,000 feet, October 25, 1912.
Alternate title: The Romance of a Gardener.
The gardener tells the story he has seen unfolded within the precincts of a beautiful spot - the beginning of affection between two, the quarrel, and the reconciliation years afterward.
Print source: British Film Institute, 15 minutes 4 seconds.
Cast: Riley Chamberlin (gardener and narrator), Marie Eline (Miss May [Marie in film inter-title], as a child), Leland Benham (Jack, her childhood sweetheart), Marguerite Snow (May grown up), James Cruze (Jack grown up), Harry Benham (who precipitates a quarrel between May and Jack), Helen Badgley (child visitor to garden), Carl LeViness (butler).
Original music composed and performed by Ben Model (silentfilmmusic.com).
The ups and downs and ups of a romance over 30 years, told as a series of flashbacks by the gardener who witnessed them. The final garden scene, which is back-lit by the sun, appears to use fill lights or reflectors (which would have been a startling innovation) or may be lucky natural fill by scattered or thin clouds. Either way, the Thanhouser cinematographers always showed remarkable skill in dealing with the widely variable lighting conditions in their extensive exterior location work.
http://vimeo.com/groups/thanhouser/videos/20938487

12
In de Tropische Zee (anon., 1914) (In the Tropical Seas)
Not listed on imdb
Imagen
One reel of approximately 1,000 feet, date of release unknown.
Photographed by Carl Louis Gregory, Thanhouser's senior cameraman, this film employed the Williamson Submarine Tube, an air-filled iron tube with a viewing chamber, to produce the first underwater motion pictures.. Location: Nassau Harbor, Nassau, Bahama Islands.
Print source: Nederlands Filmmuseum, 12 minutes 52 seconds.
Co-production of Submarine Film Company and Thanhouser, using the Williamson Submarine Tube, with the participation of J. Ernest Williamson and George M. Williamson.
Original music composed and performed by Ben Model (silentfilmmusic.com).
Edited for Netherlands release from film taken by Thanhouser’s cinematographer Carl Louis Gregory in Nassau Harbor, Nassau, Bahamas, April-June 1914.
This was a joint project by Thanhouser and the Williamson Submarine Company produced some 20,000 feet of underwater footage in the Bahamas. Carl Louis Gregory, an important cinematographer in film history, was the Thanhouser cameraman, using the newly-perfected Williamson Submarine, aka Photosphere, a nine-foot-long underwater tube with a viewing window at one end where the camera operator could work perfectly dry while capturing actual underwater views in their natural settings. George M. Williamson and his brother J. Ernest Williamson, sons of the tube’s inventor Capt. C. Williamson, participated both in front and behind the camera.
The first Thanhouser release from this footage was the five-reel "The Terrors of the Deep." After three or four special screenings in July 1914 it was finally released in September. More material was assembled into "Thirty Leagues Under the Sea" (also released in September).
The shark footage of "In de Tropische Zee" is either the final reel of Thirty Leagues Under the Sea or additional footage not used in the two Thanhouser releases, here assembled in a special Dutch or European release by a Dutch distributor or exhibitor. This title is not mentioned in the Thanhouser records or in the U.S. trade press.
Universal’s 20,000 Leagues Under the Sea (1916) used the Williamson Submarine.
12 minutes, 52 seconds. Ca. 1914.
A gruesome film from Amsterdam, much of it filmed underwater. This documentary shows men killing a sword-fish with a harpoon, a baby sea turtle hatching in a man’s hand, a native catching a sea turtle with his bare hands, men luring a shark with a dead horse tethered to the boat. Once a shark is spotted, a native holding a knife in his teeth dives overboard to kill it. Then a 400-pound shark is harpooned and hoisted aboard a boat. Clicking on the thumbnail of a scene from this film in the main menu will reveal a few production shots, including a drawing of how the underwater camera was set up
http://vimeo.com/21137464

13
In the hands of the enemy (anon., 1915)
http://www.imdb.com/title/tt0482779/
http://www.thanhouser.org/films/enemy.htm
Two reels of approximately 2,000 feet, November 16, 1915.
A story of a woman spy, her son and a firing squad draws its analogies from the world war; full of intense situations and graphic action.
Print source: Library of Congress, 27 minutes 19 seconds.
Cast: Morris Foster (Albert, the young officer), Inda Palmer (Constance, his mother).
Original music composed and performed by Ben Model (silentfilmmusic.com).
Just 15 months after the outbreak of war in Europe, it was still very early for an American film to be produced on the subject for release in isolationist U.S.A. Edwin Thanhouser had been in Europe at the outbreak and must have seen the dramatic potential, which he produced here as both an intimate and large scale story, taking no sides, set in fictional countries.
The gripping story has very little melodramatic hokum. A countess and her son volunteer to disguise themselves and take a secret message across enemy territory. It begins as the personal mission of two people, but expands into relatively complicated cavalry and artillery battles (not the less picturesque trench warfare that was actually happening).
The fluid editing and vastly more dramatic cinematography (especially the use of close shots for expressiveness and intimacy) are part of the extremely rapid advances in the artistry and technique of the film medium compared to just a year earlier.
http://vimeo.com/21310686

14
Joseph in the land of Egypt (Eugene Moore, 1914)
http://www.imdb.com/title/tt0004179/
Imagen
(Four reels of approximately 4,000 feet, February 1, 1914).
Four reel “Thanhouser Big Production” features James Cruze and scenario by Lloyd F. Lonergan from Liebler's stage drama, Joseph and His Brethren, in turn taken from a biblical story.
Print source: Museum of Modern Art, 51 minutes 43 seconds.
Assistant Director, Leo Wirth. Photographed by A.H. Moses Jr. Scenario by Lloyd F. Lonergan, based on the play Joseph and His Brethren by Joseph Napoleon Parker. Music score by Tams Music Library.
Cast: James Cruze (Joseph), Marguerite Snow (Potiphar’s wife), John Lehnberg, Justus D. Barnes, Arthur Bauer, Lila Hayward Chester, George A. Grimmer, Riley Chamberlin, David H. Thompson, Thanhouser Zoo animals.
Original music composed and performed by Ben Model (silentfilmmusic.com)
The second of “Thanhouser Big Productions,” a monthly schedule, “Joseph in the Land of Egypt” was a true “feature” film, a new class of film which came to dominate the market by the end of 1914. A feature was an hour or more, heavily advertised, with elaborate production values, often with higher ticket prices, longer runs per theater, strongly promoted star cast, and was always a drama.
Thanhouser followed up on the enormous success one year earlier of “The Star of Bethlehem” with a familiar Biblical story, large and highly decorated (and highly populated) sets, elaborate costumes, and (something new) star promotion.
Only a few “Thanhouser Big Productions” in early 1914 included specially-commissioned scores from Tams Music Library. It had been common for accompanists to improvise or use standard selections from theater and classical music, or “cue sheets” of compilations tailored specifically to the film. Beginning in 1915, the biggest features included original scores commissioned by the production studio. The performed score for “Joseph in the Land of Egypt” is a combination of the written original music and the musician’s improvisation based on its themes. This original music is a transition to the fully-composed scores introduced in Europe and the U.S. a year later. Whether it is another Thanhouser innovation is a subject for research. As in all the other titles in this Thanhouser collection, organist Ben Model exhibits the demanding and skillful art of improvisation.
http://vimeo.com/21137787

15
Just a shabby doll (anon., 1913)
http://www.imdb.com/title/tt0463544/
One reel, approx. 1,000 feet, released March 11, 1913. Print source: British Film Institute, 14 minutes, 40 seconds.
A romantic story utilizing flashback sequences, featuring Harry Benham, Mignon Anderson and Helen Badgley.
Cast: Mignon Anderson (the wife), Harry Benham (the husband), Lila Chester (the governess), Helen Badgley (little daughter who listens to her father's tale), Marie Eline (little girl of long ago), David H. Thompson (drayman).
Original music composed and performed by Ray Brubacher thanhouser.org/people/Rayb.htm.
A relatively complex original romantic story is squeezed onto only one reel, but this was the last year that such a constraint was taken for granted. Of special interest here are the 1913 New York City backgrounds. In 1913 the inter-titles became more frequent and, for the first time, primarily represented dialogue. This narrative is unusual in its fluid use of flashback (complete with anachronisms!).
http://vimeo.com/20261982

16
King Lear (Ernest Warde, 1916)
http://www.imdb.com/title/tt0006895/
Imagen
Approximately 2½ reels, abridged from the original five reels, December 17, 1916.
Frederick Warde, one of the best known stage actors of his generation, stars in this 2 1/2 reel abridged version cut down from the original five.
Print source: George Eastman House, 35 minutes 56 seconds. A Pathé Gold Rooster Play, released through the Pathé Exchange.
Directed by Ernest Warde. Scenario by Philip Lonergan, adapted from the play by William Shakespeare. Photographed by William Zollinger and John M. Bauman.
Cast: Frederick Warde (King Lear), Lorraine Huling (Cordelia), Wayne Arey (Duke of Albany), J.H. Gilmour (Earl of Kent), Hector Dion (Edmund), Ernest Warde (the King’s fool), Edwin Stanley (Edgar), Boyd Marshall (King of France), Ina Hammer (Goneril), Edith Diestel (Regan), Charles Brooks (Duke of Cornwall), Robert Whittier (Oswald). Music by Raymond A. Brubacher (thanhouser.org/people/Rayb.htm).
Frederick Warde, one of the best known stage actors of his generation, had played King Lear many times since 1896, and had starred as Richard III in the first known feature-length American film in 1912. In 1916-17 Warde was one of only three exclusive Thanhouser stars in these early days of the new “star system” of high salaries and relentless promotion. As seen in the inter-titles, the players are boldly identified, but Thanhouser stubbornly refused to build the full star treatment publicity machine to the extent that competing studios did.
Among the striking advancements of the mid-1910s, as seen here, are much more rapid and fluid editing, an increase in the use of dialogue titles, freer use of close-ups and insert shots, new skills in shallow-focus cinematography, and ever-increasing complexity of narrative. This surviving print, cut down for a later re-release, is half its original length.
Warde gives an admirably subtle performance for the intimate camera, in contrast to the broad stage acting style that prevailed in film acting as well.
Ernest Warde, the director and actor (as the court jester), was star Frederick’s son, and a solid and experienced theatrical director in his own right
http://vimeo.com/20529036

17
King René's Daughter (Eugene Moore, 1913)
http://www.imdb.com/title/tt0487661/
http://it.wikipedia.org/wiki/King_Ren%C3%A9's_Daughter
Imagen
Three reels of approx. 3,000 feet, July 1, 1913.
A very romantic fiction set in renaissance France with florid, rich costuming. The story was originally a one-act verse play in Danish, “Iolanthe,” which also enjoyed great popularity in a fine English translation for the stage.
Print source: Blackhawk Films/David Shepard, 41 minutes 53 seconds.
Directed by W. Eugene Moore, Jr. Scenario (uncredited) based on the poetic drama “Iolanthe” by Henrik Heri.
Cast: Maude Fealy (Iolanthe), Harry Benham (Tristan), Mignon Anderson, David H. Thompson (Ebu Jahia), William Russell (Pierre).
Music by Raymond A. Brubacher (thanhouser.org/people/Rayb.htm).
Maude Fealy made her Thanhouser debut in the title role, and became a much-admired member of the Thanhouser stock company. Previously she had been a beauty contest winner and had a solid career on the legitimate stage.
Compared to just a year earlier, cinematic progress is seen in the increased narrative complexity and length, more confident use of inter-titles, and more flexible camerawork sometimes following actors’ movement.
http://vimeo.com/20530655

18
Madam Blanche, beauty doctor (Arthur Ellery, 1915)
http://www.imdb.com/title/tt0463607/
One reel of approx.1,000 feet, released July 9, 1915.
Gender bender comedy with satirical social observation, features Riley Chamberlin and Harry Benham (Falstaff release).
Directed by Arthur Ellery. Scenario by Lloyd F. Lonergan.
Print source: British Film Institute, 13 minutes, 35 seconds.
Cast: Harry Benham (Bob, the college boy; Madame Blanche), Riley Chamberlin (Simon Southwick, his guardian, a rheumatic old man), Mrs. S. Stevens (Mrs. Southwick), Mignon Anderson (Betty, the stenographer), Ray Johnston (clerk), Edward N. Hoyt (clerk), Morgan Jones, Ethel Jewett.
Original music composed and performed by Ray Brubacher thanhouser.org/people/Rayb.htm.
A good example of the clever light comedy Thanhouser produced for its Falstaff label, while other studios cranked out broad slapstick comedies. Harry Benham and Mignon Anderson were versatile and popular Thanhouser stars, here showing considerable skill in light comedy, a genre that invites plenty of satirical social observation such as the burgeoning beauty-salon industry here. Cinema technique shows much more intricate editing and freer use of closeups than just a year or two earlier.
http://vimeo.com/20265862

19
Nicholas Nickleby (George Nichols, 1912)
http://www.imdb.com/title/tt0247577/
Imagen
Two reels of approx. 2,000 feet, March 19, 1912
With The Old Curiosity Shop and David Copperfield, both released in 1911, and Nicholas Nickleby, Thanhouser established itself as producer of the best Dickens adaptations in American film.
Print source: British Film Institute, 31 minutes 18 seconds.
Directed by George O. Nichols. Scenario (uncredited) based on the novel by Charles Dickens.
Cast: Harry Benham (Nicholas Nickleby), Mignon Anderson (Madeline Bray), Frances Gibson (Kate Nickleby), Inda Palmer (Nicholas’ mother), Justus D. Barnes (Nicholas’ Uncle Ralph), N.S. Woods (Smike), David H. Thompson (Squeers), Marie Eline (Wackford), Mrs. Grace Eline (Fannie Squeers), Etienne Girardot (Gryde), Harry A. Marks (Vincent Crummles).
Music by Raymond A. Brubacher (thanhouser.org/people/Rayb.htm).
Under one-man story department Lloyd Lonergan, with regular scenarist contributions by Gertrude Thanhouser, the studio developed a knack for mining even long, complicated novels for their salient events and characters and transforming them to a cinematically interesting 15 or 30 minutes.
Because of Edison’s Patents Trust pressure, distributors demanded one-reel-length pictures. Nicholas Nickleby was only the third single-release 2-reel title by Thanhouser. Thanhouser’s and others’ resistance to monopoly limitations made feature-length films (an hour or more) the norm within a few years.
There is an unusually varied flow of different sets and locations. Advanced techniques include the subtle tilt and pan of the camera in the Greta Bridge scene, the mid-action cuts to different camera positions in the “brimstone and treacle” scene, and the smooth editing of several shots, some brief, to construct scenes.
Nicholas Nickleby was one of the first productions from Thanhouser’s new Florida operation in Jacksonville, the first time an independent production company had done extensive location work for several pictures in Florida. Thanhouser would build studio facilities in Jacksonville in 1916. Some scenes for Nicholas Nickleby were done in the main studio in New Rochelle.
http://vimeo.com/20529673

20
Old Jane of the Gaiety (anon., 1915)
http://www.imdb.com/title/tt0851541/
One reel of approximately 1,000 feet, July 18, 1915.
Old Jane, the wardrobe woman, is an institution at the Gaiety Theatre. She keeps a watchful eye on the younger girls, especially little Nina Fagnant, a serious child with genuine ability.
Print source: Library of Congress, 15 minutes 49 seconds. Cast: Ethyle Cooke (“Old Jane,” theater wardrobe woman), Grace DeCarlton (Mary, a chorus girl), Jay Yorke (Jack, her sweetheart), Winifred Lane (Daisy), Morgan Niblack (Gilbertson), Janet Henry (Fay), Justice Barnes (choreographer), George Barnes.
Original music composed and performed by Ben Model (silentfilmmusic.com).
By July 1915 the studio was again benefitting from the management of Edwin Thanhouser. A good example is “Old Jane of the Gaiety,” a well-written and well-directed backstage drama with visual panache. The wardrobe lady, Old Jane, counsels the new chorus girl, who is being wooed by a stage-door Johnny while her boyfriend tries to “save” her from theater life. The crisply-paced narrative, complete with flashbacks, has strong pictorial interest emphasizing front/back staging and creative camera placement.
http://vimeo.com/groups/thanhouser/videos/21144395

21
Only in the way (anon., 1911)
http://www.imdb.com/title/tt0001817/
Imagen
Cast: Marie Eline (Marie).
Original organ score composed and performed by musician Andrew Crow.
A crippled little girl lives at home with her parents and her grandmother. She loves her grandmother deeply, but her parents can't get along with the old woman, and the girl is torn between both sides.
Through most of 1910, the first year of Thanhouser releases, the studio created vehicles around one of its earliest stars, child actress Marie Eline. She was one of the few movie players to receive screen credit in those early days. Her film role previous to this one was Little Nell in The Old Curiosity Shop.
The dramatic theme of Only in the Way centers on a universal topic, family disharmony. In this film, the parents' treatment of the grandmother affects the little girl who identifies with her grandmother. Thanhouser scenarists seemed to have had a special sensitivity for the feelings of children which is reflected in this film. The sentimental approach was expected in 1911.
Titles are used here in an old-fashioned way, simply to describe what was about to happen in the next scene.
This early short from the Thanhouser company is featured on the Thanhouser Volume One DVD. Stylistically it is not very advanced, because sometimes the titles first tell us what is about to be portrayed on the screen. However, the story is very interesting. A couple with a handicapped young daughter (Marie Eline) have the husband's mother move in with them. The daughter is very happy to spend time with her grandmother, but the wife is tired of having to clean up after her. The wife makes her husband put the grandmother in a nursing home. Of course, the problem is resolved in a loving and sentimental way. This film is a great example of how early nickelodeon films did not shy away from topical subjects.
mp4
http://vimeo.com/20026556

22
Petticoat camp (anon., 1912)
http://www.imdb.com/title/tt0002429/
Imagen
One reel of approximately 1,000 feet, released November 3, 1912.
Early "women's lib" with a comedy twist, with Florence LaBadie, William Russell and William Garwood.
Print source: Library of Congress, 14 minutes, 50 seconds
Cast: Florence LaBadie, William Garwood, the Jordan Sisters (divers).
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
This comedy capitalizes on the booming pastime of a newly mobile American middle class - fishing and camping. Not only is the woodsy lakeside photogenic, but it also provides a charming locale for a light-handed battle-of-the-sexes comedy.
With a fresh and energetic attitude, the story portrays several married couples vacationing on an island. The boys play and the girls work. The girls rebel and move to an island of their own. The boys scheme to show how necessary they are as protectors, but the plan backfires and a truce is reached.
The accomplished swimmers in one commercially appealing scene were non-actress stand-ins who performed as the Jordan Sisters in aquatic shows.
http://vimeo.com/groups/thanhouser/videos/20024996

23
Seven ages of an alligator (anon., 1913)
http://www.imdb.com/title/tt0885116/
One reel split with His Uncle’s Wives, 315 feet, February 2, 1913.
Shows the alligator in several stages of growth, from babyhood to a ripe old age; a film taken at an alligator farm in Southern California. Split with “His Uncles Wives” (vimeo.com/21136320).
Print source: Library of Congress, 4 minutes 20 seconds.
Original music composed and performed by Ben Model (silentfilmmusic.com).
In early 1913 as Thanhouser staff and crews were setting up a facility in Los Angeles, cameraman Carl Louis Gregory was taking documentary footage, from which four “split reel” short subjects were created: “A Million Birds,” filmed at California pigeon and ostrich farms; “Los Angeles the Beautiful” (two different version with the same title), showing scenic attractions; and “Seven Ages of an Alligator,” filmed at an alligator farm. Released together, “His Uncle’s Wives” and “Seven Ages of an Alligator” filled up one 1,000-foot “split reel.”
http://vimeo.com/21138861

24
She (George Nichols, 1911)
http://www.imdb.com/title/tt0001877/
Two reels of approx.2,000 feet, released December 26, 1911.
Thanhouser's first two reel film, an adventure/fantasy, with James Cruze in dual role of the hero.
Directed by George O. Nichols. Scenario adapted from H. Rider Haggard's novel of the same name.
Print source: Em Gee, 24 minutes, 40 seconds.
Cast: Marguerite Snow ("She"); James Cruze (Leo Vincey and also Kallikrates, his ancient ancestor; in the tomb scene, in Part II, by double exposure photography), Viola Alberti (the Pharaoh's daughter), William C. Cooper, Horace Holly, Irma Taylor, Harry Benham, Alphonse Ethier, Marie Eline (Leo Vincey as a youth).
Original music composed and performed by Ray Burbacher (thanhouser.org/people/Rayb.htm).
The sensational popular story was one of three Haggard novels filmed by Thanhouser. It has many of the elements found in the not-yet-invented adventure/fantasy serial genre. Thanhouser’s expertise in location work, costume fantasy, and elaborate storytelling pay off in in She, the studio’s first single-release two-reel production. The double role of the hero is played by James Cruze, Thanhouser’s best-known actor, who was something of an adventurer himself. In the 1920s he became the highest-paid director in Hollywood. Margurite Snow was also one of the core of Thanhouser’s stock company who enjoyed popularity as stars began to be identified and promoted.
http://vimeo.com/20266291

25
Shep's race with death (John Harvey, 1914)
http://www.imdb.com/title/tt0463721/
Imagen
One reel, approx. 790 feet, released November 1, 1914
Heroic dog "Shep" saves the day, also featuring the "Thanhouser Twins" Marion and Madeline Fairbanks.
Directed by John Harvey.
Print source: Museum of Modern Art, 12 minutes, 15 seconds.
Cast: Mrs. Whitcove (Mrs. Mateland), J.S. Murray (Mr. Stearns), Marie Rainford (Mrs. Stearns), Marion and Madeline Fairbanks (the twins), Shep (the Thanhouser Collie, as himself).
Original music by Ray Burbacher thanhouser.org/people/Rayb.htm.
The simple story of a heroic dog that saves the day appealed to audiences (especially with a well-trained animal as attractive and energetic as Shep), and became a movie staple for generations.
http://vimeo.com/20262386

26
Silas Marner (Ernest C. Warde, 1916)
http://www.imdb.com/title/tt0012684/
Originally seven reels, February 19, 1916, this version three reels, release date unknown.
Frederick Warde in his motion picture debut in the leading role as the bent and twisted miser whose life of selfishness is changed by the influence of a child.
Print source: Thanhouser Collection, 43 minutes 26 seconds.
Directed by Ernest Warde. Assistant Director, Frank L. Gereghty. Photographed by William Zollinger. Scenario by Philip Lonergan, based on the novel by George Eliot.
Cast: Frederick Warde (Silas Marner), Louise Emerald Bates (his sweetheart), Morgan Jones (his supposed friend), Frank S. McNish (Squire Cass), Thomas A Curran (Godrey, the older son of the squire), Baroness DeWitz “Valda Valkyrien” (Molly, the barmaid in the neighboring village of Shoreham), Hector Dion (Dunstan, the squire’s younger son), Kathryn Adams (Silas Marner’s foster daughter grown to womanhood), Edwin Stanley (her betrothed), Arthur L. Rankin (Lammeter), Frank L. Gereghty, Ethel Jewett (Nancy, the youngest daughter), Elise Jordan (Priscilla, the
oldest daughter).
Original music composed and performed by Ben Model (silentfilmmusic.com).
From the very beginning, Thanhouser had a knack for pictorializing classic plays and novels, especially quaint period stories. The title character, a kindly weaver, is wrongly accused of murder and theft and becomes an embittered miser. Meanwhile, the real villain is blackmailed. The lives of various characters intertwine eventfully with the life of Silas Marner, and events over the decades restore his humanity. A rich variety of locations (including genuine snow-take that, Hollywood!), one of Thanhouser’s specialties, is at its best here. Silas’ fire-lit cabin interior has dramatically effective special lighting not possible a couple of years earlier. The story suffers from severe truncation in this version (reduced to less than half its original length for a post-Thanhouser re-release), but benefits from Frederick Warde’s detailed acting.
http://vimeo.com/21306075

27
Tannhäuser (Lucius J. Henderson, 1913)
http://www.imdb.com/title/tt0464694/
Imagen
Three reels of approximately 3,000 feet, July 15, 1913
The story, set in medieval Germany, tells of chivalry, mythology and magic (with skillful in-camera tricks), love’s redemption, and tragedy.
Print source: British Film Institute, 40 minutes 09 seconds. (Note: Like many films from this era, the original print was tinted with various colors for different scenes. Thanks to the Library of Congress, the tint log from the original nitrate print was made available from which this copy was edited to imitate the rich colors audiences enjoyed in 1913.)
Scenario (uncredited) based on the opera by Richard Wagner.
Cast: James Cruze (Tannhäuser), Marguerite Snow (Elisabeth), Florence LaBadie (Venus), William Russell (Wolfram), Burton Law. Music by Raymond A. Brubacher (thanhouser.org/people/Rayb.htm).
Though different in spelling and pronunciation, Thanhouser’s adaptation of “Tannhäuser” was probably inevitable. The opera, with original libretto and music by Wagner, based on traditional legends, was the first Wagner opera seen in the United States and enjoyed great popularity throughout the opera world. A subsequent non-musical English verse stage version was very popular in England and the U.S.
The story, set in medieval Germany (Thuringia), tells of chivalry, mythology and magic (with skillful in-camera tricks), love’s redemption, and tragedy.
The scantily-clad wood nymphs and the passion between Tannhäuser and Venus, tame relative to the demands of the story, are early examples of censor-testing cinematic expression. Although those freedoms were noted in the press, there is no record of any attempted censorship of Tannhäuser.
At the beginning of 1913, Thanhouser, now a Mutual Film Corporation company, leased facilities in Los Angeles and equipped them for full-service studio production with the intent of making movies for a new Mutual brand, Royal. The Royal brand did not happen, and Thanhouser ended up using the Los Angeles facility for films in its own schedule. Tannhäuser was produced in Los Angeles, as the treeless mountain landscape reveals.
http://vimeo.com/20663988

28
The actor's children (Barry O'Neil, 1910)
http://www.imdb.com/title/tt0233154/
http://www.thanhouser.org/films/actors.htm
One reel of approximately 1,000 feet, March 15, 1910
The first Thanhouser release about the disappearance of an actor's children, their thrilling adventure and how they return to their parents.
Print source: Academy of Motion Picture Arts & Sciences Archive, 13 minutes 27 seconds.
Scenario by Lloyd F. Lonergan. Photographed by Blair Smith.
Cast: Frank H. Crane (father), Orilla Smith (girl), Yale Boss (boy), Nicolas Jordan (comedian).
Original music composed and performed by Ben Model (silentfilmmusic.com).
Photographic supervision by Joseph Bianchi, inventor of the Bianchi camera, two of which were rented by Thanhouser.
Remarkably for a movie studio’s first release, The Actor’s Children is well up to the state of the art for early 1910. Intertitles announce, in a few words, what will happen in the upcoming scene (a convention that lasted through 1912). Each scene is an unedited fixed-camera shot suggesting a front-row-center viewpoint. (Later in the film a single scene/sequence is a combination of two separate shots in separate sets, an important step toward ever increasing complexity of scene-building.) Sets are12-foot cubes with one exterior location filming.
The Actor’s Children is the story of the insecure lives of theater people and was supremely appropriate for the Thanhouser studio, whose principals Edwin and Gertrude Thanhouser had a wealth of theatrical experience in acting, production and entrepreneurship.
This print of The Actor’s Children has survived against all odds, so the nitrate deterioration and other poor condition in places is unfortunate but bearable.
http://vimeo.com/groups/thanhouser/videos/20909759

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lexis nekres
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Mensajes: 182
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Re: Todo el silente de la red en la Mula

Notapor lexis nekres » Mié May 09, 2012 11:44 pm

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29
The center of the web (Jack Harvey, 1914)
http://www.imdb.com/title/tt0428307/
Two reels of 1,870 feet, December 1, 1914.
Who Let the Dogs Out? Thirty German police dogs are the heroes of this crime drama centered on the round up of a gang of counterfeiters.
Print source: British Film Institute, 26 minutes 38 seconds.
Directed by John Harvey. Scenario by Philip Lonergan.
Cast: Claire Droell (Ida Dean, the counterfeiter’s secret accomplice), Frank Wood (John Linton, the Secret Service agent), Sam Niblack (George Morley, the counterfeiter), George Niblack, Marguerite Loveridge (the old clerk’s daughter), Nolan Gane, 13 police dogs.
Original music composed and performed by Ben Model (silentfilmmusic.com).
A counterfeiting gang is foiled by police, and the action-chase takes up almost all of the second reel. The real stars of the chase are the agile and determined police dogs. This is a rather conservative example of late-1914 film style with only a couple of interesting camera set-ups and compositions, few dialogue titles (almost all title cards merely announce the action of the next scene), and no identification of the actors. It succeeds on a strong story line to exploit the three sure-fire elements of crime, chase, and animals. A rare and technically difficult process inset is used to enhance the drama and to do what silent movies do best-replace words with pictures.
http://vimeo.com/groups/thanhouser/videos/21135471

30
The coffin ship (anon., 1911) (aka Im meere verloren)
http://www.imdb.com/title/tt0001550/
Imagen
The Coffin Ship: One reel of approximately 1,000 feet, June 20, 1911).
Love story filmed in Long Island Sound with a stowaway and a shipwreck, featuring William Garwood.
Print source: Nederlands Filmmuseum, 14 minutes, 37 seconds.
Cast: William Garwood.
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
Because of 1911 production convention, a sprawling adventure is truncated to one-reel length. Good location work, a strength of Thanhouser pictures, creates a visually strong seagoing story of a stowaway and a shipwreck. Long Island Sound locations were near the studio.
A review of The Coffin Ship in The Moving Picture World criticized at length errors of accuracy in the depiction of the merchant ship and its sailors, and technicalities of sailing and of the shipwreck, despite the good story and its dramatic effectiveness. Such criticism disproves the myth that critics and audiences accepted anything on the screen at face value.
German intertitles; English hardsubs
http://vimeo.com/20026890

31 & 32
The cry of the children (George Nichols, 1912)
http://www.imdb.com/title/tt0002122/
Imagen
The Cry of the Children: Two reels, approx. 2,000 feet, released April 30, 1912.
Critical pre-World War I film on child labor reform, photographed by Carl Lewis Gregory.
Directed by George O. Nichols, Photographed by Carl L. Gregory, Print source: George Eastman House, 28 minutes.
Cast: Marie Eline (Alice, the little girl), Ethel Wright (the working mother), James Cruze (the working father), William Russell (the factory owner), Lila H. Chester (the factory owner's wife), David H. Thompson (the factory manager).
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
The Cry of the Children is the most famous and best documented of all Thanhouser films. In its day it was recognized as one of the most important expressions of the pre-World War One reform movement, in particular child labor. Perhaps because the uncompromising content drew all the attention, the film was not then recognized as the artistic masterpiece it is.
The title and basic outline of the scenario were taken from Elizabeth Barrett Browning's popular poem which was quoted in the intertitles. The antique sentimental quality of the poem contrasts sharply with the gritty realism of the visual images. Likewise, the story contrasts scenes of the mill owner's home life with that of the poor working family. An unsuccessful strike, poverty, death, and hardship threaten to tear the poor family apart.
Although location work was frequent in those days, the real factory setting was unusual and strikingly authentic. Dramatic depiction of the poor family is largely understated. The remarkably fluid editing foreshadows the editing style that became commonplace in the 1920's. Lap dissolves are used for psychological effect, and subtle and skillful camera tilting follows the actors. Excellent staging usually emphasizes depth and fore-to-back movement, and groups are handled well. Twice as long as most films of that period, the picture reflected Edwin Thanhouser's advocacy of "natural length" films rather than the standard one-reel film demanded by exhibitors for commercial reasons.
Although some elements of the story are melodramatic, clichés are to be expected from that era. However, the cinematic skill and social importance certainly contributed to a new social-realism style. The film marked the emerging political power of film, and the potential for making contributions to society.
http://vimeo.com/18500930

The Cry of the Children: Documentary
A critical review of Thanhouser's 1912 child labor film "The Cry of the Children" produced in 2003.
http://vimeo.com/groups/thanhouser/videos/35354204
11:15;

33
The decoy (Carl Gregory, 1914)
http://www.imdb.com/title/tt0003828/
One reel of 1,018 feet, released July 3, 1914, a Princess film.
Complex story of romance and crime, with Murial Ostriche and Morgan Jones.
Scenario by Philip Lonergan.
Print Source: British Film Institute National Film and Television Archive, 16 minutes, 2 seconds.
Cast: Charles Horan (John Henderson/Mr. Vincent). Marie Rainford (his wife), Virginia Waite (Jane Phelps, their distant relative, a widow), Muriel Ostriche (her daughter Muriel, who becomes a decoy), Morgan Jones (a millionaire), Boyd Marshall (Boyd, a businessman, Muriel's lover), John Reinhard.
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
A rather complex interweaving of romance and crime is squeezed into one reel. A "respectable" couple of city "card sharpers" invite a distant country relative to visit, then use her as a pretty, unwitting decoy to lure rich victims. They flee town a step ahead of the law. At a resort, the innocent girl falls in love with the latest victim, but they help expose and apprehend the guilty parties.
The attractive story is worthy of two-reel-length development, which would probably have been the case under Edwin Thanhouser's management. On the other hand, fast-paced storytelling was a popular new trend in films, thanks to the influence of D. W. Griffith at Biograph.
http://vimeo.com/groups/thanhouser/videos/20025454

34
The evidence of the film (Lawrence Marston, Edwin Thanhouser, 1913)
http://www.imdb.com/title/tt0303270/
Discovered in 1999 on the floor of a Montana projection booth, this is a good crime tale with film making as a subject.
"The Evidence of the Film" was selected in 2001 for inclusion in the National Film Registry by the National Film Preservation Board of the Library of Congress because of its cultural, historical or aesthetic significance.
Original music composed and performed by Ray Brubacher thanhouser.org/people/Rayb.htm.
Print source: Library of Congress, 14 minutes, 30 seconds.
Recently discovered and rescued, "The Evidence of the Film" is a particularly clever and unusual early example of a fictional dramatic movie with filmmaking as a subject. The portrayal of a movie crew that just happens to be at work on a street corner is accurate. The director is seen consulting a shooting script, something a Thanhouser director would do but probably not another studio’s director. The film laboratory and editing scenes are of enormous interest as historical document as well as ingeniously integrated in the crime tale.
http://vimeo.com/groups/thanhouser/videos/20262650

35
The farmer's daughters (anon., 1913)
http://www.thanhouser.org/films/daughters.htm
http://www.imdb.com/title/tt0002847/
Imagen
One reel of 1,006 feet, September 28, 1913.
The daughters of the farmer do some very good character work fooling young college graduates who are bent on matrimony. Incidental glimpses of American farm life considerably enhance the value of the film.
Print source: British Film Institute, 15 minutes 36 seconds.
Scenario by Lloyd F. Lonergan.
Cast: Muriel Ostriche (May, the farmer’s daughter), Jean Darnell (Grace, the farmer’s other daughter), Billy Noel (hired hand), Nolan Grane (hired hand), Justice Barnes (father).
Original music composed and performed by Ben Model (silentfilmmusic.com).
The one-reel light comedy was a specialty of Thanhouser, as were well-selected locations and a clever scenario. The theme of gender democracy is not unusual in Lloyd F. Lonergan’s stories. Here, the two daughters are set up against their will as sexual lures, but they turn the tables and get the best of the men.
http://vimeo.com/21136786

36
The fires of youth (Emile Chautard, 1917) (aka Fires of youth)
http://www.imdb.com/title/tt0194889/
Fires of Youth (Two reels of approx.2,000 feet, originally released in five-reel Pathé Gold Rooster Play version by the Pathé Exchange on June 17, 1917; shortened re-release by Imperial Film Company Ltd.).
Wealthy industrialist (Frederick Warde) seeks to regain his youth (Jeanne Eagles) in this cut down two-reel version.
Directed by Emile Chautard. Assistant director: James Ewens. Scenario by Agnes Christine Johnston. Photographed by Jacques Bizeul.
Print source: Em Gee, 31 minutes, 12 seconds.
Cast: Frederick Warde (Iron-Hearted Pemberton), Jeanne Eagels (Billy's sister), Helen Badgley (Billy), Ernest Howard (Billy's father), Robert Vaughn (Jim), James Ewens, Carey L. Hastings, Grace Stevens.
Original music composed and performed by Ray Brubacher thanhouser.org/people/Rayb.htm.
The productions from Thanhouser’s mature period, 1915-1917, clearly show the advancements that set the stage for the first cinematic golden age, the 1920s. In this surviving shortened version of Fires of Youth are evident such advances as detailed character development by veteran actor Warde (and in a smaller role, at least in the shortened version, by Eagels), mature editing technique, special lighting effects, intelligent story development, realistic use of locations, fluid dialogue inter-titles, complex staging, and access to better cameras with the defeat of the Patents Trust.
Acclaimed French stage and film director Emile Chautard was brought from Éclair studio in France to direct.
This lone surviving print was recently purchased by Em Gee Film Library from the collection of the Silent Movie Theatre in California. The shortened version is imprinted with “Imperial Film Company Ltd.,” an English production and distribution company founded in 1913 by Paul Kimberley who was also managing director of Thanhouser Films Ltd. in London in 1913-1914.
http://vimeo.com/20264707

37
The little girl next door (Lucius Henderson, 1912)
http://www.imdb.com/title/tt0435143/
Imagen
One reel, approx. 1,000 feet, released November 1, 1912
Tragic drama with a moral lesson, features the "Thanhouser Twins" Marion and Madeline Fairbanks.
Directed by Lucius Henderson. Scenario by Philip Lonergan.
Print source: Essex Films, 14 minutes, 20 seconds.
Cast: William Garwood (the husband), Marguerite Snow (the wife), Marion and Madeline Fairbanks (Helen Randall and Ruth Foster), William Russell (the other father).
Original music composed and performed by Ray Brubacher thanhouser.org/people/Rayb.htm.
The “Thanhouser Twins,” Marion and Madeline Fairbanks, are featured in this tragic drama with a moral lesson. Although limited by the constraints of one-reel storytelling, the scenario (the first by Philip Lonergan, the brother of story department head Lloyd Lonergan) is a well-rounded and engaging one. The naturalistic acting is quite sophisticated for the time.
http://vimeo.com/20263054

38
The marble heart (anon., 1913)
http://www.imdb.com/title/tt0463594/
Imagen
Two reels of approx.2,000 feet, released May 13, 1913.
A story of unrequited love, with three popular Thanhouser stars James Cruze, Margurite Snow and Florence LaBadie.
Scenario adapted from the play by Charles Selby.
Print source: Museum of Modern Art, 26 minutes, 50 seconds.
Cast: Marguerite Snow (Marco, the woman with the marble heart), James Cruze (Raphael, the jilted sculptor), Florence LaBadie (Marie, the girl who found refuge in the sculptor's home), William Russell (the editor friend), Burton Law.
Original music composed and performed by Ray Brubacher thanhouser.org/people/Rayb.htm.
This story, already a well-known English play of 1854 adapted from an earlier French play, casts the three most popular Thanhouser adult stars in a story of unrequited love, with a dream sequence that parallels the main story. Pale makeup is especially noticeable in some scenes, the answer to orthochromatic film’s blotchy-dark rendering of skin tones. Within a couple of years the technique of film makeup, filtering and lighting would be greatly improved.
http://vimeo.com/20265420

39
The marvelous marathoner (anon., 1915)
http://www.imdb.com/title/tt0806793/
One reel of 1,023 feet, August 16, 1915.
An energetic and vivacious Falstaff comedy with good pacing combining physical comedy (without slapstick) with situation comedy.
Print source: Library of Congress, 13 minutes 12 seconds. Scenario by Lloyd F. Lonergan for the Falstaff brand.
Cast: Boyd Marshall (Walter Bodewick), Ruth Elder (Vivian Webster), Justus D. Barnes (Ewing Webster), D. Hegeman (Colotta Cummings). A Falstaff film. Music by Raymond A. Brubacher (thanhouser.org/people/Rayb.htm).
Thanhouser’s “Falstaff Comedies” was a schedule of one-reel comedies released each Friday beginning in April 1915, later changed to each Tuesday. Looking for a niche, Thanhouser’s short plot-driven comedies stood out from other studios’ trend toward longer offerings and broad gag-oriented comedy. The Falstaff comedies were what could be called situation comedies calling on the outstanding screenwriting skill of Lloyd Lonergan and the acting charm of the Thanhouser stock company. Marathoner enjoys energetic and vivacious comedy pacing combining physical comedy (without slapstick) with situation comedy.
Skillful cinematography, many interesting locations, and creative lighting for interiors add to the fine visual quality. Some serious nitrate deterioration has compromised a brief part of this surviving print
An energetic and vivacious Falstaff comedy with good pacing combining physical comedy (without slapstick) with situation comedy.
http://vimeo.com/20665767

40
The Pasha's daughter (anon., 1911)
http://www.imdb.com/title/tt0161911/
Imagen
One reel of approximately 1,000 feet, January 3, 1911
A young American man in trouble is assisted by the daughter of the pasha to escape in woman's clothes from Turkey.
Print source: Museum of Modern Art, 13 minutes 39 seconds.
Cast: William Garwood.
Original music composed and performed by Ben Model (silentfilmmusic.com/).
The elements of an adventure-romance are dressed in an exotic setting. (Ottoman Turkey was hot in the news as the empire was on the verge of collapse and the European powers were preparing to carve up the Near East and Middle East into colonies.) An American visitor somewhere in the Ottoman Empire, is mistakenly arrested, escapes, is aided by the local Pasha’s daughter, they fall in love, and they find each other later in America. The vivid exoticism in emphasized (1911 viewers must have wondered, is that a depiction of a real harem?), and the brisk, dashing pace of the story again shows Thanhouser’s deft touch.
http://vimeo.com/groups/thanhouser/videos/20911452

41
The portrait of Lady Anne (anon., 1912)
http://www.imdb.com/title/tt0417062/
One reel of approximately 1,000 feet, July 23, 1912.
In 1770, the beautiful Lady Anne in a jealous fit throws over her lover who goes away to the war and is killed. Fast forward to 1912 where a descendant of Lady Anne is entertaining and much the same happens.
Print source: Library of Congress, 14 minutes 53 seconds.
Cast: Florence LaBadie (Lady Anne), Justice Barnes (Lady Anne’s father in 1770), William Russell (rejected 1770 suitor), Carl LeViness (accepted suitor in 1770), Harry Benham (her suitor in 1912).
Original music composed and performed by Ben Model (silentfilmmusic.com).
A fantasy of romance and jealousy across 200 years. Sets are, in 1912, becoming more realistic, sometimes even layered (with glimpses into other rooms in the background). Though still not willing to identify (much less promote) their popular players, the theater-savvy Thanhousers were willing to hire the most elaborate and picturesque costumes in New York City.
http://vimeo.com/20938013

42
The Soap Suds Star (anon, 1915) (aka The Soap-Suds Star)
http://www.imdb.com/title/tt0006062/
One reel of 1,025 feet, released October 28, 1915, a Falstaff release.
Comedy about a down-and-out vaudeville team who attempt Shakespeare and destroy their career.
Scenario by Lloyd F. Lonergan.
Print source: Museum of Modern Art, 14 minutes, 38 seconds.
Cast: Carey L. Hastings (Sophie, the star), Reginald Perry (husband).
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
Theater, particularly vaudeville, has been an endless source of material for movies. This energetic comedy features a down-and-out actor and a funny laundry proprietor who are hired as a vaudeville act. They become a big hit, but when they try Shakespeare, they destroy their showbiz career.
The Soap Suds Star was released under the Falstaff banner, the comedy arm of Thanhouser.
http://vimeo.com/groups/thanhouser/videos/20030702

43
The star of Bethlehem (Lawrence Marston, 1912)
http://www.imdb.com/title/tt0002504/
Imagen
One reel, released December 24, 1912.
Biblical tale about the birth of Christ told with a cast of 100's, one reel British version edited from original three reel release.
Directed by Lawrence Marston. Production supervised by Edwin Thanhouser. Scenario by Lloyd F. Lonergan. Original length three reels (3,000 feet); surviving version edited to one real (1,000 feet)
Print source: British Film Institute National Film and Television Archive, 15 minutes, 13 seconds.
Cast: Florence LaBadie (Mary), James Cruze (Micah, Joseph), William Russell (Herod), Harry Benham (Angel Gabriel), Justus D. Barnes (Gaspar, one of the Magi), Charles Horan (Melchior, one of the Magi), Riley Chamberlin (Balthasar, one of the Magi), Harry Marks (scribe), N. S. Woods (scribe), Lawrence Merton (scribe), David H. Thompson (Pharisee, rabbi), Lew Woods (Pharisee, scribe), Joseph Graybill (Roman messenger), Carl LeViness (shepherd), Frank Grimmer (shepherd), Ethyle Cooke; total cast of 200 persons.
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
Thanhouser's ambitious Star of Bethlehem was one of the first steps toward true feature-length films (more than two reels long). It appeared the year before the Italian epic Quo Vadis? was viewed in the U. S., and two years before the first Hollywood feature, The Squaw Man. The original negatives were destroyed in the Thanhouser studio fire just three weeks after its first release.
Preparation of this epic was one of the last duties of Edwin Thanhouser before leaving the studio that bore his name. He had sold it to Mutual in April of 1912 and continued to work as studio manager until he "retired" in November, 1912, only to return in 1915. Thanhouser's biggest production up to that point in time, the film required a one-month shooting schedule, employed a cast of 200 (including forty principals), and cost a hefty $8,000. Special effects alone took a full week's work.
Thanhouser studio's flair for sumptuous costumes, crowds of actors, and rich staging is evident in this epic. Some of the larger scenes reportedly were filmed with two or even three cameras shooting from different angles. The ratio of two-and-a-half feet of film exposed per foot of film used is modest by today's standards, but was extravagant for 1912.
http://vimeo.com/20025872

44
The tiniest of stars (anon., 1913)
http://www.imdb.com/title/tt0367144/
One reel, approx. 1,000 feet, released January 14, 1913.
Family drama of a a brother ("The Kid" Marie Eline) and sister ("The Kidlet" Helen Badgley) who take to the stage.
Print source: Library of Congress, 15 minutes, 45 seconds.
Cast: James Cruze, Marie Eline (the little boy), Helen Badgley (the little girl).
Original music composed and performed by Ray Burbacher thanhouser.org/people/Rayb.htm.
An air of authenticity infuses this family drama of a brother and sister who take to the variety stage. The popular stage was a source of everyday entertainment for most Americans of the time, and had been Edwin Thanhouser’s career before 1910. Audiences were beginning to recognize and demand more of the little actresses Marie Eline (who plays the little boy) and Helen Badgley, which led to the studio promoting them, and demand for their movies helped create the star system which survives today stronger than ever. Deft mixture of comedy and sentimentality.
http://vimeo.com/20263350

45
The two roses (anon., 1910)
http://www.imdb.com/title/tt0344506/
Released on June 7, 1910, THE TWO ROSES was Thanhouser's 16th release and was advertised as "A powerful, pathetic, pretty story of life in Little Italy." The film featured Marie Eline (Tony, an Italian boy), Frank H. Crane (Tony Prolo, young Tony's father), and Anna Rosemond (Tony Prolo's wife). In this film Marie Eline was billed as "The Thanhouser Kid" for the first time.
This beautifully preserved 35mm print comes from the Deutsche Kinemathek - Museum für Film und Fernsehen, Berlin. Unfortunately, the surviving film elements had only the French language title card LES DEUX ROSES at the head of the print and otherwise was without intertitles.
But, thanks to the excellent work by Urte Alfs and Anke Mebold at the Deutsches Filminstitut - DIF in Frankfurt, new German intertitles were generated based on the synopsis that was published in "The Moving Picture World" on June 10, 1910. This video version also includes English language translation from the German. Original music composed and performed by Günter A. Buchwald.
http://vimeo.com/37402366

46
The vagabonds (anon., 1915)
http://www.imdb.com/title/tt0452504/
One reel of 1,000 feet, August 29, 1915
A series of flashbacks where a penniless, friendless tramp and his dog relates the story of his downfall due to drink.
Print source: The Library of Congress, 12 minutes 58 seconds.
Scenario (uncredited) based on the poem “The Vagabonds” by J.T. Trowbridge (the poem was sometimes known by the title “Roger and I”).
Cast: Morris Foster (Tim), Grace DeCarlton (Amelia), Arthur Bauer (Grossbeck Upham), Carey L. Hastings (Tim’s mother)Music by Raymond A. Brubacher (thanhouser.org/people/Rayb.htm).
The Vagabonds source is a different kind of classic-a poem by an influential and prolific writer of inspirational and cautionary stories for children, particularly boys. The author J.T. Trowbridge (1827-1916) had also been a well-known pre-Civil War abolitionist. His poem “The Vagabonds” was first published in 1863.
This relatively fine print shows the rapid improvements in camera lenses in the mid-1910s, and independent studios like Thanhouser finally had access to the best cameras and equipment with the breaking of the Patents Trust in 1915.
The variety of camera setups and fluidity of editing is quite modern compared to just a year or two earlier.
Thanhouser Film Corporation was almost in disarray following the 1914 death of its brilliant manager Charles J. Hite and the subsequent departure of many employees. In addition, big studio competitors were realizing big profits from lengthier films and celebrity-star promotion that Mutual’s Thanhouser was not keeping pace with.
The turnaround began when Edwin Thanhouser returned as general manager in early 1915 and the company was soon reorganized. He also was made an executive and a director of Mutual.
http://vimeo.com/20664915

47
The vicar of Wakefield (Ernest C. Warde, 1917)
http://www.imdb.com/title/tt0008735/
Imagen
Seven or eight reels, released February 25, 1917. Print source: EmGee, 1 hour, 29 minutes, 30 seconds.
Elaborate remake starring Frederick Warde released by Pathé.
Directed by Ernest C. Warde. Scenario by Emmett Mix, based on the novel by Oliver Goldsmith. Photographed by William M. Zollinger. Cast: Frederick Warde (the Vicar of Wakefield), Boyd Marshall (George Primrose), Kathryn Adams (Olivia Primrose), Gladys Leslie (Sophia Primrose), Thomas A. Curran (Geoffrey; Mr. Burchell), Robert Vaughn (Squire Thornhill; Squire Wilmot), Carey L. Hastings (Mrs. Primrose), William Parke, Jr. (Moses Primrose), Tula Belle (Dick Primrose), Barbara Howard (Bill Primrose), Grace DeCarlton (Arabella Wilmot), Arthur Bauer (Mr. Wilmot), Morgan Jones (Jenkinson), Joseph H. Phillips, Nellie Parker Spaulding, Oscar W. Forster.
Original music composed and performed by Ray Brubacher thanhouser.org/people/Rayb.htm.
After affiliating with Pathe in late 1916, Thanhouser produced only feature-length dramas. In 1917 the studio had a roster of only four stars, none of them a commercial match for the personality-stars created by the publicity machines of other studios. Frederick Warde, like his Thanhouser colleague Jeanne Eagels, was one of the most talented and famous stage actors in New York City, and was the perfect choice for the popular title character of the 1766 English novel. The production vindicated the new feature-length movie format by restoring several characters, plot complications, and atmosphere that had been truncated in Thanhouser’s 1910 version of less than one-sixth the length.
Warde, forgotten today, was best known for his classic stage work, but starred in several films including the title role in Richard III in 1913, the first American feature film (not a Thanhouser production). The director is the star’s son.
The elaborate production required several months to produce, working around Warde’s busy Chautauqua lecture schedule, and includes incidents vividly remembered by the novel’s readers, such as the green spectacles, the debtor’s prison, the sham marriage, and the burning of the vicarage.
http://vimeo.com/groups/thanhouser/videos/20258734

48
The vicar of Wakefield (Theodore Marston, 1910)
http://www.imdb.com/title/tt0409435/
One reel version of Oliver Goldsmith's classic 1766 novel.
The Vicar of Wakefield: One reel of approximately 1,000 feet, released December 17, 1910.
Print source: Nederlands Filmmuseum, 13 minutes 20 seconds.
Original music composed and performed by Raymond A. Brubacher thanhouser.org/people/Rayb.htm.
Adapted from the novel by Oliver Goldsmith. Cast: Martin J. Faust (the Vicar of Wakefield), Frank H. Crane, Anna Rosemond, William Garwood, Marie Eline, Bertha Blanchard, Lucille Younge, William Russell.
Edwin Thanhouser, and Lloyd F. Lonergan who wrote or supervised screenplays for hundreds of Thanhouser films, often turned to classic plays and novels for quality source material. The Vicar of Wakefield was an enormously popular English novel for 150 years, offering a complex but accessible mix of Georgian English characters, situations, mores and manners. All this had to be simplified and distilled down to one reel of story, which was done better by Thanhouser than any other studio could have done.
In 1910 virtually all movies were developed in the director’s mind, improvised during filming, and made into a narrative by the film editor. Theater veteran Edwin Thanhouser and journalist Lonergan were possibly the first movie professionals to begin each new production with a complete screenplay (which they called a “continuity”). Within a year after its first release, the studio had a reputation for the best-developed stories in the business.
Also contributing was Gertrude (Mrs. Edwin) Thanhouser who helped on the scenarios and film editing.
http://vimeo.com/groups/thanhouser/videos/20257840

49
The voice of conscience (anon., 1912)
http://www.imdb.com/title/tt0435516/
One reel of approximately 1,000 feet, September 3, 1912
Two girls fall in love with the same man. Out motoring one day they are thrown from the machine and carried to the hospital. One of the girls poisons the other. The story swings into a very pleasant finish.
Print source: George Eastman House, 14 minutes 22 seconds.
Cast: Edmond J. Hayes (dying father), Jean Darnell (orphan), Florence LaBadie (visiting girl), Harry Benham (suitor), Justice Barnes (doctor).
Original music composed and performed by Ben Model (silentfilmmusic.com/).
The shackles of studio filming are largely broken in The Voice of Conscience, filmed in a variety of New Rochelle locations. The freedom is also evident in the cinematography which uses subtle panning and tilting in several shots, plus one trick shot and one unusual composition.
http://vimeo.com/20938295

50
The winter's tale (Barry O'Neil, Theodore Marston, 1910)
http://www.imdb.com/title/tt0131137/
Imagen
One reel of approximately 1,000 feet, May 27, 1910
The first of six Shakespeare films released by Thanhouser.
Print source: Library of Congress, 12 minutes 35 seconds.
Scenario by Lloyd F. Lonergan and Gertrude Thanhouser, based on the play by William Shakespeare.
Cast: Anna Rosemond (Queen of Sicilia), Martin Faust (King of Sicilia), Frank H. Crane (King of Bohemia), Amelia Barleon (Princess of Sicilia), Alfred Hanlon (Prince of Bohemia).
Original music composed and performed by Raymond A. Brubacher (thanhouser.org/people/Rayb.htm).
"The Winter’s Tale" was just the 13th or 14th title from the studio in its first nine weeks of releases. A handful of dramatic scenes from the play are presented in simple cinematic style with particular artistry in costumes and sets. This is the first Shakespearean adaptation by any American independent producer.
Nitrate deterioration in this print is typical of the chemical problem that has destroyed thousands of pre-1950 film negatives and prints.
http://vimeo.com/20528359

51
The woman in white (Ernest C. Warde, 1917)
http://www.imdb.com/title/tt0184033/
Imagen
Five reels of 4,627 feet, July 1, 1917
Five reel feature film based on Wilkie Collins novel with special lighting effects, a technical tour de force as well as dramatically effective.
Print source: Library of Congress, 1 hour 8 minutes. Directed by Ernest C. Warde. Scenario by Lloyd F. Lonergan, based on the novel by Wilkie Collins. Photographed by William M. Zollinger.
Cast: Florence LaBadie (double role as Laura Fairlie and Ann Catherick), Richard R. Neill (Sir Pervival Glyde), Gertrude Dallas (Marian Holcombe), Arthur Bauer (Count Fosco), Wayne Arey (Walter Hartridge), J.H. Gilmour, Claude Cooper. A Pathé Gold Rooster Play released through the Pathé Exchange.
Original music composed and performed by Ben Model (silentfilmmusic.com).
Re-released by Chandler Pictures as The Unfortunate Marriage ca. 1920.
In its last two years of production Thanhouser concentrated on multi-reel features of high quality. Lloyd Lonergan’s scenarios were the foundation for the attention to quality, whether with original stories or with adaptations like The Woman in White.
Stylistic and technical elements are very near the sophisticated level of the first golden age of cinema, the 1920s. Especially noteworthy are the special lighting effects, a technical tour de force as well as dramatically effective.
Release through Pathé gave Thanhouser pictures especially strong international exposure during the studio’s last years, but somewhat hampered by the war in Europe.
The Woman in White was adapted from a very well known contemporary novel and was a particularly fine vehicle for the beautiful Florence LaBadie, one of the last of the old stock company still with Thanhouser in 1917. She was called “the most important personality at the Thanhouser studio” by Thanhouser historian David Q. Bowers. Two months after the release of The Woman in White she was in an automobile accident and she died in October from her injuries, just a week later than the release of the studio’s final new production.
http://vimeo.com/20908725

52
The world and the woman (W. Eugene Moore, 1916)
http://www.imdb.com/title/tt0007590/
Imagen
Five reels of approximately 5,000 feet, released November 19, 1916, Pathé Exchange.
Jeanne Eagel's film debut tells the story of a prostitute turned faith healer in this five reel feature, released by Pathé.
Directed by W. Eugene Moore. Scenario by Philip Lonergan, possibly based on the play Outcast.
Print source: George Eastman House, 1 hour, 6 minutes.
Cast: Jeanne Eagels (woman of the streets), Ethelmary Oakland (Sunny, her daughter), Boyd Marshall (the man), Thomas A Curran (James Palmer), Wayne Arey (Jim Rollins), Grace DeCarlton (Rollins' wife), Carey L. Hastings (Anna Graham).
Original music composed and performed by Andrew Crow (thanhouser.org/people/crowa.htm.)
The World and the Woman is historically important as the screen debut of legendary actress Jeanne Eagels. The role of a prostitute turned faith healer is suitably challenging for the star.
Edwin Thanhouser began phasing down production at the studio in early 1917, so this is a very late Thanhouser film. The World and the Woman demonstrates many important advances of the previous few years such as feature length, editing techniques (for instance, watch here for camera-position changes in the middle of action), and more complex, expressive, and thoughtful story development. Part of the story is based on one of Eagels' stage successes, The Outcast.
Locations, a strength of Thanhouser pictures, included Manhattan and the Adirondack mountains in addition to studio interiors. The Woman and the World was released as a "Pathé Gold Rooster Play," in accordance with Thanhouser's releasing contract with the Pathé Exchange.
http://vimeo.com/groups/thanhouser/videos/20030914

53
Their one love (Jack Harvey, 1915)
http://www.imdb.com/title/tt0376247/
Imagen
One reel, approx. 1,020 feet, released May 2, 1915.
Civil War drama with spectacular night battle sequences, featuring "The Twins" Marion and Madeline Fairbanks.
Directed by John Harvey. Scenario by Gertrude Thanhouser. Photographed by Carl Louis Gregory.
Print source: British Film Institute, 15 minutes, 20 seconds.
Cast: Madeline and Marion Fairbanks (the twin sisters), Robert Wilson (Jack, the soldier), Charles Emerson (Jack as a boy).
Original music composed and performed by Ray Brubacher thanhouser.org/people/Rayb.htm.
One of the many Civil War movies made during the 50th anniversary of the conflict. This was one of Thanhouser’s last one-reel dramas and was released just after Griffith’s Civil War epic Birth of a Nation. Griffith’s monumental picture had included three long-shots of nighttime pyrotechnics that included superimposures to complete the effect. Their One Love has an elaborate and spectacular eleven-shots night battle sequence with pyrotechnics and electric lighting effects, plus far more elaborate staging, editing, action, and pictorial drama than Griffith’s example. Thus, film historians consider Their One Love to be the first fiction film to fully realize the technique of night cinematography. The night sequence was filmed three weeks after Birth opened in New York.
http://vimeo.com/20263798

54
Uncle's namesakes (anon., 1913)
http://www.imdb.com/title/tt0452443/
Imagen
One reel, approx. 1,000 feet, released December 12, 1913.
Comedy about twin "boys" who deceive their rich English uncle, with Marion and Madeline Fairbanks ("The Twins").
Print source: British Film Institute, 15 minutes.
Cast: David H. Thompson (Jack, a needy young husband), Lila Chester (May, his wife), Sidney Bracy (Uncle John Henry Carson), Madeline and Marion Fairbanks (the uncle's namesakes), Justus D. Barnes. Original music composed and performed by Ray Burbacher thanhouser.org/people/Rayb.htm.
This story of an American family’s innocent deception to earn money from a rich English relative is about as broad as Thanhouser comedy ever got. The Thanhouser studio avoided slapstick despite the vigorous success the genre was enjoying at other studios. Young movie actresses of the time often portrayed boys, but here the Thanhouser Twins get to make fun of the practice.
http://vimeo.com/20264277

55
When the studio burned (Lawrence Marston, 1913)
http://www.imdb.com/title/tt0211117/
Imagen
One reel of 1,000 feet, February 4, 1913
Fictional drama exploiting the fire that actually struck the Thanhouser studio on January 13, 1913 and burned the main facility to the ground.
Print source: Library of Congress, 14 minutes 14 seconds.Directed by Lawrence Marston. Scenario by Lloyd F. Lonergan.
Cast: Marguerite Snow (as herself), Helen Badgley (herself), Marie Eline (herself), James Cruze (himself), Justus D. Barnes (director), Mrs. Gerald Badgley (member of traveling crew).
Original music composed and performed by Ben Model (silentfilmmusic.com).
The film studio’s worst enemy was fire, thanks to mostly wooden structures and highly flammable nitrate negatives, prints, and film stock. Fire actually struck the Thanhouser studio on January 13, 1913 and burned the main facility to the ground. Most of the negatives and prints were saved. The fire was reported in newspapers nationwide.
Although there were a few shots of smoldering ruins, the cameras arrived too late to film any of the actual fire. Although several Thanhouser players portray themselves in When the Studio Burned, the story is all fiction from the imagination of Lloyd Lonergan, simply meant to capitalize on the notoriety. The views of the city of New Rochelle are perfectly authentic.
As luck would have it, Thanhouser had just opened a studio in Los Angeles, and had just set up production in Chicago, so it was able to continue its schedule of releases without interruption as the replacement facilities were constructed.
http://vimeo.com/20908375

56
Young Lord Stanley (anon., 1910)
http://www.imdb.com/title/tt0408355/
One reel of approximately 1,000 feet, October 25, 1910
A nobleman stoops to manual labor when his funds grow low and falls deeply in love with his employer's daughter.
Print source: Library of Congress, 13 minutes 35 seconds.
Scenario by Lloyd F. Lonergan.
What appears to be the title of this print, “His Only Son,” may be a later alternate title or may be the first inter-title card.
Cast: Justice Barnes (Father of girl)
Original music composed and performed by Ben Model (silentfilmmusic.com).
Some of Lloyd F. Lonergan’s recurring storytelling themes are the basis for this simple, engaging and unlikely story-indomitable young romance, inheritance, classism, and wealth. Thanhouser makes especially rich use of one of its strengths, a variety of location exteriors. Even its interior sets, though still small, are more realistic than a few months earlier.
http://vimeo.com/groups/thanhouser/videos/20910837

57
Zudora, Episode 2: The Mystery of the Sleeping House (Howell Hansel, Frederick Sullivan, 1914)
http://www.imdb.com/title/tt0004846/
Imagen
Zudora Episode #2: The Mystery of the Sleeping House: Two reels of approximately 2,000 feet, November 30, 1914.
A story teeming with love and the fiery romantic impulsiveness of the East is told in the two-reel drama, the second episode in Thanhouser's production of Dr. Daniel Carson Goodman's serial photoplay.
Print source: Thanhouser Collection/Essex Film Club, 29 minutes 21 seconds.
Directed by Frederick Sullivan. Scenario by Lloyd F. Lonergan, based on a story by Dr. Daniel Carson Goodman. Photographed by Carl Louis Gregory.
Cast: James Cruze (Hassam Ali; later, Jim Baird, a reporter), Marguerite Snow (Zudora, Hassam Ali’s neice), Harry Benham (John Storm), Helen Badgley, Sidney Bracy (Tom Hunt, a detective).
Aka: Zudora in the Twenty Million Dollar Mystery, aka The Twenty Million Dollar Mystery. Episode 2 aka The Sleeping House Mystery, Working title: The Frozen Laugh, Alternate working title: The Mystery of the Frozen Laugh.
Original music composed and performed by Ben Model (silentfilmmusic.com).
The earlier 22-episode The Million Dollar Mystery, released from June through November 1914 (with a 23rd sequel episode in February 1915) was one of the most successful projects in Thanhouser’s history, said to be more popular and more profitable than Pathé’s more famous The Perils of Pauline, also from 1914. In mid-release of The Million Dollar Mystery, Thanhouser was already beginning work on another serial, Zudora. A full 20 two-reel episodes were released between November 1914 and April 1915. This serial was far less successful and many exhibitors canceled their orders in mid-series, despite the general popularity of its stars Marguerite Snow and James Cruze.
A mysterious and exotic secret society conducts elaborate ceremonies in American suburbia with the kidnapped heroine Zudora who they want to marry off to their leader as a substitute for the real princess who was taken by a rival tribe back in India. The sets range from cheap and cheesy (the outside-of-the-window backdrops, painted stone walls), to elaborately and skillfully decorated.
Climactic inter-cutting between three or four simultaneous action scenes is a new technique, and the use of inter-titles shows the transition from old-style (identifying the action in the next scene) to the new style (dialogue).
Because each episode was meant to be a self-contained story, the last-second rescue here eliminates a potential cliff-hanger ending.
http://vimeo.com/groups/thanhouser/videos/21144046


Specs:
They are all in .mp4 format, except nums. 7, 31 and 32 which are .mov files.
B&W / tinted
English intertitles (English hardsubs for Dutch, German or French intertitles)

from nr. 27 Tannhäuser (Lucius J. Henderson, 1913) [similar for all the other .mp4]
video
Codec: H264 - MPEG-4 AVC (part 10) (avc1)
Resolution: 640x424
Frame rate: 29.970029
audio:
Codec: MPEG AAC Audio (mp4a)
Channels: Stereo
Sample rate: 44100 Hz

from nr 32 The cry of the children (George Nichols, 1912) [similar for the other .mov]
video
Codec: H264 - MPEG-4 AVC (part 10) (avc1)
Resolution: 640x472
Frame rate: 29.970029
audio
Codec: MPEG AAC Audio (mp4a)
Channels: Stereo
Sample rate: 44100 Hz

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