"MEN O'WAR" (MGM, 1929) Produced by Hal Roach; directed by Lewis Foster;
                                      story by Leo McCarey; dialogue by H.M. Walker

One of the least-known (and admittedly, one of the lesser) Laurel and Hardy
comedies, "Men O'War" is especially interesting in that it is one of their
very first ventures into sound. Sadly, one notes how the intrusion of
dialogue affects their pacing, and how inferior the film is to their
silent classics which immediately preceded it - "Pig Business", "Two Tars",
"Double Whooppee", "The Second Hundred Years" and all the others. Hardy
of course learned to use dialogue to heighten the comic possibilities of his
character, but on the whole, and with one or two obvious exceptions (i.e.,
"The Music Box") their talkies were several rungs below the silents, even
the better ones ("Tit for Tat" for example) being semi-remakes of earlier
silents.   Not that Laurel and Hardy ever made a really dull two-reeler,
and "Men O'War" is still full of first-rate comedy situations.

'THE TELEPHONE GIRL AND THE LADY" (Biography 1913) Starring MAE MARSH,
                          with Alfred Paget, Harry Carey, Claire McDowell, Kate
                          Bruce, Dorothy Parley and Gertrude Bambrick.

Although "supervised" by D.W. Griffith, this Biograph melodrama was
actually directed by Tony O'Sullivan while D.W. was away on the coast.
Thus, while it lacks the finesse and tight construction that D.W. would
have injected into it, it does reflect the general influence that Griffith
had on his sub-directors - particularly in the exciting cross-cutting of
the climax. The film quite successfully combines simple human drama and
fast action, and Mae Marsh is as delightful as always as the heroic young
telephone girl.

"THE GREEKS HAD A WORD FOR THEM"  (Produced by Sam Goldwyn - Feature
                                                        Productions Inc., Ltd - for UA release)
Produced in 1931, released 1932; directed by Lowell Sherman; photographed
by George Barnes; adapted by Sydney Howard from the play by Zoe Akins;
music by Alfred Newman; edited by Stuart Heisler; art direction by
Richard Day;
with INA CLAIRE, MADGE EVANS, JOAN BLONDELL, Lowell Sherman, David Manners,
Sidney Bracey, Creighton Hale, Ward Bond.

With the Samuel Goldwyn cycle reaching its conclusion at the Museum of
Modern Art, we felt it would be a good idea to bring back this delightful
early Goldwyn talkie, not included in the Museum's program.

A fast-paced comedy of three girls on the prowl (it was one of several
sources from which "How to Marry a Millionaire" derived), "The Greeks Had
a Word For Them" literally oozes the spirit of the early thirties in its
brittle and zippy comments on manners and morals, its reconstructions of
smoky speakeasies, and in its very much in period dialogue. ("Let's all
have a little drinky!" is one of the most oft-repeated phrases).

The film doesn't make too conspicuous an attempt to conceal its stage
origin, but frequent changes of venue, slick editing, and some sweeping
crane shots from cameraman George Barnes, keep the whole frolic nicely
on the move. A very much out and censored version has been shown -
somewhat infrequently - on television under the title "Three Broadway
Girls"; our version, we're happy to say, is not only complete and uncut,
but a fine, brand new print into the bargain.

Lowell Sherman reminds us once again what a polished performer he was -
and after our rhapsodic comments on Madge Evans in our notes for "Hallelujah
I'm a Bum!" we'll just add that she's even more delectable in this one!
Joan Blondell too, is at her snappy, early-30's best!

           Incidentally, if you listen to the background music carefully, you'll
recognise snatches from the scores of "Whoopee" and "Reaching for the Moon" --
and some of the decor in Sherman's apartment turned up later in Madge Evans'
apartment in "Hallelujah I'm a Bum!" (Richard Day was the art director on
both pictures).

PROGRAM TWO: Tuesday July 17th.

"THE MOTHERING HEART" (Biograph, 1913) Directed by D.W.Griffith, starring
                                      LILLIAN GISH and WALTER MILLER, with Donald Crisp as
                                      an extra.

This is one of two known existing prints on a remarkable early Griffith, the
other print being at Eastman House. The film is a quite astonishingly mature
little drama of an erring husband, a patient wife, and the seductive vamp. A
staple enough plot, certainly, for those early days, but rarely done with such
sensitivity and insight as here. A good deal of the action takes place in a
large night-club, where Griffith has an opportunity to display, again, his
mastery over crowd scenes. Lillian Gish and Walter Miller - the young lovers
in another Griffith great, "Musketeers of Pig Alley", are fine in the leads -
but in this case a lot of their limelight is effortlessly stolen away by the
vamp. A gorgeous creature (rather like a more substantial Mary Astor) and a
capable actress, she stands out so much that one wonders why she didn't
become a star overnight. So far her identity has baffled even such experts as
James Card, Seymour Stern and Gerald McDonald; if any of our members know
who she is, PLEASE let us know!

"THE MARRIAGE CLAUSE" (Universal, 1926) Script and direction by Lois Weber;
                                    based on the novel "Technic" by Dana Burnett. Film
                                    produced under the title "The Star-Maker". Starring
                                    FRANCIS X. BUSHMAN, BILLIE DOVE, WARNER OLAND and
                                    Edward Earle.

Our print is a two-reel version of an eight-reel feature; condensed, not too
carefully, but at least in sequence. It contains every cliche in the book and
at 8 reels may have been rather a bore (although "Photoplay" gave it a rave
review) but at two reels it is fast, interesting, and a most enjoyable drama
of backstage romance. Obviously, it was an extremely lavish production, with
fine sets and photography. The tints, amber and blue, are a joy to behold.
Billie Dove has never looked lovelier, but Bushman is surprisingly hammy. In
many of his gestures (particularly in his closing scenes) he seems to be
deliberately imitating John Barrymore, and none too successfully at that.
All in all, this version of "The Marriage Clause" makes for two really
interesting reels.

"THE BELLS"   (A Chadwick Production, 1926) Adapted and directed by James Young
                    from the Erckman-Chatrian play. Photographed by L. William 0'Connell
                   Technical di rector: Earl Sibley; assistant director: Cliff Saume
                   Lighting effects: Percy Harris
The Cast: Mathias (LIONEL BARRYMORE); Annette (Lola Todd); The Mesmerist (BORIS
KARLOFF); Jerome Frantz (GUSTAV VON SEYFFERTITZ); Catherine (Caroline Frances
Cooke); Hans (Lorimer Johnson); Christian (Edward Phillips); the Fortune-
Teller (Laura LaVernie); Baruch Koweski and Jethro Koweski (E. Allyn Warren).

One of the most surprising aspects of looking at old film is how often the film
with the great reputation disappoints; i.e., "Blood and Sand" seen today seems
not only poor, but an incredibly cheap production. Equally surprising - and
more pleasantly so - is the number of really interesting films that were made
by independent producers. Such a film is "THE BELLS", now forgotten and lost
in obscurity, largely because it was just an "indie" picture. Yet it has more
style and polish than many a major company picture - certainly it is on a
much bigger scale than "Blood and Sand" and is a vastly superior film. (The
two films have, of course, nothing in common; we merely use the Valentino
film as a particularly applicable example of the basically worthless film which
has been remembered, in contrast to the superior "The Bells" which has been
forgotten).

"The Bells" is far from being a classic, but it is an extraordinarily well-
made film - well acted, well directed, well designed. The sets are solid and
substantial. There is no stinting in the crowd scenes. The camerawork is
really superb. What a pleasure it is to see really sharp, crystal-clear
photography again in this fuzzy CinemaScopic age. The print is taken from the
original negative, and is one of the finest we have ever run across.

           As for plot, "The Bells" is an interesting period melodrama of
murder - and the subsequent torments of conscience. As a play, it was one of
Sir Henry Irving's most succesful vehicles, and it also served Harry Baur in
a French film version. Lionel Barrymore of course, has a field-day with it -
particularly in the well-handled scenes where he plays cards with the ghost of
his victim!

          We haven't read the play, but at least two sequences seem to be borrowed
from "Macbeth". However, these may be additions by adaptor-director James Young
for certainly the inclusion of the character of the Mesmerist was his own
idea. In make-up (and in other ways too, such as certain shots in the fair-
ground) the Mesmerist is quite obviously based on Dr. Caligari. Karloff does
extremely well in this role, and it is very much of a puzzle why it took
another five yearn for producers to again cast him in horror roles.

One of Iris Barry's typically inane forewords remarked that "The Cabinet
of Dr. Caligari" influenced nobody. Some time if the Museum is in a playfully
perverse mood, it might be rather fun to splice that foreword on to scenes
from "The Cat and the Canary'', "The Bells", and all of "Murders in the Rue
Morgue"! Certainly the Caligari influence is very much in evidence in this
one!

Gustav Von Seyffertitz (who apparently appeared in anything and everything in
the twenties, regardless of the size of the role) is disappointingly wasted,
but has some good scenes in the nightmare sequence towards the climax. James
Young, who directed, was the former husband of Clara Kimball Young and one of
the most prolific early Vitagraph directors. He was another claimant to the
"first feature" title, even though his contention was based on "My Official
Wife", a 1914 5-reeler released after "The Squawman", another false pretender
to the title.

"The Bells" is a really interesting re-discovery.

"OFFICER 444" - episode two of our Ben Wilson-Neva Gerber serial brings this
                        program to a close.

    Program Notes & Enquiries: Wm.K.Everson, Manhattan Towers Hotel, 2166 Bdy., NY
    Secretary; Dorothy Lovell, 10 W. 84th Street, NYC.

Our Next Program - August 21 - THE CHAPLINS
Sydney "THE MAN ON THE BOX"; Charlie and Syd in "A DOG'S LIFE";
            Charlie in "SHOULDER ARMS"

We are very happy to report that our marathon session on the 23rd was well
attended (surprisingly well for such a pleasant summer day) and that, having
broken even on that show, we are encouraged to present other much programs in
future. That particular program was a real test in that most of the films
were "borderline" ones that had been retired to our backlog because they
weren't considered quite important enough for a regular showing. Subsequent
programs should be more appetising. All in all, our society is now in quite a
healthy state; since this time last year we have acquired enough additional -
and really interested - members to get us over the hurdles. Our overheads are
still as high as ever, but our attendances are such that most shows do break
even, with the occasional loss (i.e., the Walthall evening) being made up
by the occasional profit ("Merry Go Round" - our all-time top grosser!!)

We are listing below a number of films that we have played in the past, but
which may be new to many of our members. These prints are all available to us
and if there is sufficient interest (i.e., thirty requests or more per title)
we will arrange special screenings of the films in question. Just drop me a
postcard if there are any films on this list of interest to you:
                                    - - - - - - - - - - - -
THE HUNCHBACK OF NOTRE DAME (Complete print) Lon Chaney, Patsy Ruth Miller
THE KISS - Garbo - Lew Ayres - Conrad Nagel; dir: Jacques Feyder
TUMBLEWEEDS and THE RETURN OF DRAW EGAN - Hart
THE FIGHTING EAGLE - Rod la Rocque, Phyllis Haver, Sam de Grasse
THE THREE MUSKETEERS - Fairbanks
THE SCARLET LETTER - Gish, Hanson, Walthall. dir: Victor Seastrom
WAY DOWN EAST - Griffith - Gish, Barthelmess
BEAU BRUMMEL- John Barrymore, Mary Astor