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:studiOneiro: Framed art : Anonymous
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For more on this one, you could have a look at my blog: davewhatt.wordpress.com/2025/09/06/this-should-be-called-...
Hand made by a child aged 12. I'm sorry I made it public loosing this way all the many faves but I thought it was worthy to bring this great work to the view of more persons.
Shot with Canon EOS 40D + Canon 50mm f/1.8
I shot this in a really cool independent kind of gallery in berlin. The backdrop for this is a huge canvas made by Alexandr Rodin.
I am going to shoot in the snowy forests with Robert today so I hope for some interesting nature stuff.
Real art is best IN LARGE
For a look behind the scenes of my photography
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Vintage British postcard. Gaumont "Select Pictures". Select Pictures refers to the American production company Select Pictures (1917-1923) by Lewis Selznick, which he had founded in 1916 as Selznick Pictures, after losing control in the company World Film. Alice Brady, daughter of one the founders of World Film, played at Select Pictures in 1918-1919 in some 12 films, a.o. Woman and Wife (1918) and At the Mercy of Men (1918), under the direction of American and French émigré directors such as Alan Crosland and Emile Chautard.
Alice Brady (born Mary Rose Brady, 1892–1939) was an American stage and screen actress, who began her career in the silent film era and survived the transition into talkies. Brady's father William Brady, a reputed theatrical producer, moved into movie production in 1913 with his new company World Film, and Brady soon followed along after him, making her first silent feature appearance in 1914, followed by another twenty films at World Film. All while she continued to perform on the New York stage, as World Film was situated in Fort Lee, New Jersey. Now mostly forgotten, World Film was highly active during the 1910s as production and distribution company, which even had a separate, all-French section with French emigre directors such as Léonce Perret, Emile Chautard, Maurice Tourneur, and Albert Capellani.
In 1918 Alice Brady moved to Select Pictures of former World Film manager Lewis Selznick (father of David). In 1921 she acted at Realart Pictures and in 1921-1923 at Paramount. In 1923, Brady stopped appearing in films to concentrate on stage acting, and did not appear on the screen again until 1933. After that she acted in another 25 sound pictures. All in all Brady acted in some 80 films. She worked until six months before her death from cancer in 1939. Her films include My Man Godfrey (1936), in which she plays the flighty mother of Carole Lombard's character, and In Old Chicago (1937) for which she won the Academy Award for Best Supporting Actress.
Between 1919 and 1922 Alice Brady was married to actor James Crane, with whom she acted in three films and had one son, Donald.
Source: French and English Wikipedia, IMDB.
British postcard by Rotary Photo, London, no. S. 63-2. Photo: Moody, N.Y.
Mary Miles Minter (1902-1984) was an American silent screen actress.
Mary Miles Minter was born Juliet Reilly in Shreveport as the daughter of Broadway actress Charlotte Shelby. Shelby himself wanted that Juliet and her older sister Margaret also became stage actresses. One night when there was no babysitter available Juliet accompanied her sister to an audition, was discovered and got her first stage role. In order to avoid the Child Labor Act, she used her cousin's passport and took the name "Mary Miles Minter". As a result, she debuted in film in 1912 and in 1915 got her first substantial lead in a feature, The Fairy and the Waif (Marie Hubert Frohmann, George Irving, 1915). With her innocent appearance, Soon after, she started to work for Metro Pictures, while in 1916 she moved on to Mutual Pictures - always playing the leads, despite her young age. In 1917 she moved to the American Film Company, where Henry King often directed here, and in 1918 she traded American for Paramount. Minter became popular and grew into the rival of Mary Pickford.
In 1919 Mary Miles Minter made her most famous film, Anne of Green Gables (presumably a lost film), with director William Desmond Taylor. The film became a huge success, as a result of which Taylor started to promote the actress so that she would grow into a legendary star. Eventually, she got into a relationship with the 30-year-old man. Several films with Minter in the lead were made by their newly founded production company Realart Pictures, but distributed by Paramount. Taylor initially directed her there, but after a few films, various other directors stepped in, such as Paul Powell and Joseph Henabery.
In 1922 Taylor was murdered in his house. Mary Miles Minter told in an interview in 1970 that she collapsed when she saw his body in the morgue. His death became a popular topic in the media and took place while Minter was in the prime of her career. The perpetrator could not be found and her mother Charlotte Shelby was long known as a suspect. In 1937, when the case was still unresolved, Minter demanded that she be given a prison sentence or that the case would be left alone. Eventually, it was announced in 1999 that Ella Margaret Gibson admitted on her deathbed in 1964 that she had committed the murder. Not much later she died of a heart attack.
After the death of Taylor, Mary Miles Minter made four more films for Paramount. Trail of the Lonesome Pine, her latest film, was released in 1923. After her contract was not renewed, she received many other offers, but she refused all because she said she was never happy during the times that she was an actress. Minter has told in interviews that she was much happier after her Hollywood years, although she was robbed in her own home in the 1970s and 1980s. She also sued her mother for all the money she had gained by filming and got a settlement out of court. Minter died of a stroke at the age of 82. All in all, she did some 55 films of which just a little over a fifth survives.
Sources: Wikipedia (English and Italian) and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard in Les Vedettes de Cinéma series by A.N., Paris, no. 36. Photo: Paramount.
May McAvoy (1899-1984) als written as MacAvoy, was an American actress of the silent screen, best known as Esther in the classic epic Ben-Hur (Fred Niblo, 1925).
Born in New York City in 1899, within a well-to-do family that owned and operated a livery stable, May left school at the age of 17 to act in her first role in the film Hate by Walter Richard Stahl. From then she had small parts, even uncredited roles in films, for various Californian film companies, until she did a few films for the J. Stuart Blackton Company. Blackton, the co-founder of and regular director at Vitagraph, had started his own production company in 1917. After two smaller parts in films for the company, she got her first lead in The House of the Tolling Bell (1920), a mystery film about a haunted house, directed by Blackton himself. Blackton let her star again, again opposite Bruce Gordon, in The Forbidden Valley (1920). In 1921 she acted e.g. in Chester M. Franklin's A Private Scandal, which script had been purposely written by Hector Turnbull for McAvoy. The film was the first of a series of seven films at Realart Pictures, in which McAvoy constantly starred, directed either by Frank O'Connor or William Desmond Taylor. The apparent success of these films convinced Paramount to lure her away with a contract. Petite as she was, McAvoy was independent enough to defend her interests.
In 1922 May McAvoy started to act at Paramount/ Famous Players-Lasky, where she already had done an occasional film in the past. It was William C. DeMille who mostly directed her at Paramount: in Clarence (1922), starring Wallace Reid and Agnes Ayres, Grumpy (1923), starring Theodore Roberts, Only 38 (1923), in which she herself had the lead, and The Bedroom Window (1924), another starring role with Malcolm McGregor and Ricardo Cortez as her co-stars, and probably McAvoy's last film for Paramount. In 1923 McAvoy got into a row with director-producer Cecil B. DeMille, because she refused the role in his film Adam's Rib, as it meant her hair would be bobbed and she had to show partial nudity. Instead, she complained parts she wanted were given to other actresses: to Betty Bronson in Peter Pan and to Betty Compson in Little Minister. After she had been suspended, she bought off her contract and started freelancing.
This didn't mean a fallback at all, as May McAvoy managed to play memorable parts in e.g. The Enchanted Cottage (John S. Robertson, 1924) starring and produced by Richard Barthelmess, Tessie (Dallas M. Fitzgerald, 1925) and in particular Lady Windermere's Fan (Ernst Lubitsch, 1925) with Ronald Colman, while McAvoy replaced Gertrude Olmstead in her best known silent film, MGM's classic super production Ben-Hur: A Tale of the Christ (Fred Niblo 1925). McAvoy played Esther, the love interest of the title character, played by Ramon Novarro. Her former rival at Paramount, Betty Bronson, would play the small part of the Virgin Mary. Two years after, McAvoy had an important part in what is often credited as the first sound feature, The Jazz Singer (Alan Crossland 1927), which, actually, was a part-talkie, in which most actors, including McAvoy, did not talk yet. She played Mary, girlfriend of the male lead, played by singer-actor Al Jolson.
Afterward, May McAvoy did act in all-talkie movies, such as The Lion and the Mouse (Lloyd Bacon, 1928), and The Terror (Roy Del Ruth, 1928), shot at Warner's studio in Burbank with failing technology, distorting her voice. Not so much because of her voice, but on request of her new (1929) husband, Maurice Cleary, banker and treasurer of United Artists, she withdrew to private life and took care of their son, Patrick (1932-2012). Despite some sources write they remained married until his death, English Wikipedia has convincing proof they divorced in 1940. It also explains that in 1940 McAvoy went back to the set, but had to satisfy with bit parts. Hollywood was not kind to its former stars. Still, until 1959 she had small parts, even uncredited ones - her last part being an extra in the remake of Ben-Hur (1959) by William Wyler, himself a former assistant-director on the silent version. May McAvoy died on April 26, 1984, in Los Angeles, as the consequence of a heart attack one year earlier. She was interred in the Holy Cross Cemetery in Culver City. May McAvoy has a star on the Hollywood Walk of Fame at 1731 Vine Street.
Sources: Dave Lobosco on greatentertainersarchives.blogspot.com/2013/07/may-mcavoy..., Wikipedia (English and German), and IMDb.
German postcard by Ross Verlag, Berlin, no. 708/1, 1925-1926. Photo: Transocean-Film-Co, Berlin.
May McAvoy (1899-1984) was an American actress of the silent screen, best known as Esther in the classic epic Ben-Hur (Fred Niblo, 1925).
Born in New York City in 1899, within a well-to-do family that owned and operated a livery stable, May left school at the age of 17 to act in her first role in the film Hate by Walter Richard Stahl. From then she had small parts, even uncredited roles in films, for various Californian film companies, until she did a few films for the J. Stuart Blackton Company. Blackton, the co-founder of and regular director at Vitagraph, had started his own production company in 1917. After two smaller parts in films for the company, she got her first lead in The House of the Tolling Bell (1920), a mystery film about a haunted house, directed by Blackton himself. Blackton let her star again, again opposite Bruce Gordon, in The Forbidden Valley (1920). In 1921 she acted e.g. in Chester M. Franklin's A Private Scandal, which script had been purposely written by Hector Turnbull for McAvoy. The film was the first of a series of seven films at Realart Pictures, in which McAvoy constantly starred, directed either by Frank O'Connor or William Desmond Taylor. The apparent success of these films convinced Paramount to lure her away with a contract. Petite as she was, McAvoy was independent enough to defend her interests.
In 1922 May McAvoy started to act at Paramount/ Famous Players-Lasky, where she already had done an occasional film in the past. It was William C. DeMille who mostly directed her at Paramount: in Clarence (1922), starring Wallace Reid and Agnes Ayres, Grumpy (1923), starring Theodore Roberts, Only 38 (1923), in which she herself had the lead, and The Bedroom Window (1924), another starring role with Malcolm McGregor and Ricardo Cortez as her co-stars, and probably McAvoy's last film for Paramount. In 1923 McAvoy got into a row with director-producer Cecil B. DeMille, because she refused the role in his film Adam's Rib, as it meant her hair would be bobbed and she had to show partial nudity. Instead, she complained parts she wanted were given to other actresses: to Betty Bronson in Peter Pan and to Betty Compson in Little Minister. After she had been suspended, she bought off her contract and started freelancing.
This didn't mean a fallback at all, as May McAvoy managed to play memorable parts in e.g. The Enchanted Cottage (John S. Robertson, 1924) starring and produced by Richard Barthelmess, Tessie (Dallas M. Fitzgerald, 1925) and in particular Lady Windermere's Fan (Ernst Lubitsch, 1925) with Ronald Colman, while McAvoy replaced Gertrude Olmstead in her best known silent film, MGM's classic super production Ben-Hur: A Tale of the Christ (Fred Niblo 1925). McAvoy played Esther, the love interest of the title character, played by Ramon Novarro. Her former rival at Paramount, Betty Bronson, would play the small part of the Virgin Mary. Two years after, McAvoy had an important part in what is often credited as the first sound feature, The Jazz Singer (Alan Crossland 1927), which, actually, was a part-talkie, in which most actors, including McAvoy, did not talk yet. She played Mary, girlfriend of the male lead, played by singer-actor Al Jolson.
Afterward, May McAvoy did act in all-talkie movies, such as The Lion and the Mouse (Lloyd Bacon, 1928), and The Terror (Roy Del Ruth, 1928), shot at Warner's studio in Burbank with failing technology, distorting her voice. Not so much because of her voice, but on request of her new (1929) husband, Maurice Cleary, banker and treasurer of United Artists, she withdrew to private life and took care of their son, Patrick (1932-2012). Despite some sources write they remained married until his death, English Wikipedia has convincing proof they divorced in 1940. It also explains that in 1940 McAvoy went back to the set, but had to satisfy with bit parts. Hollywood was not kind to its former stars. Still, until 1959 she had small parts, even uncredited ones - her last part being an extra in the remake of Ben-Hur (1959) by William Wyler, himself a former assistant-director on the silent version. May McAvoy died on April 26, 1984, in Los Angeles, as the consequence of a heart attack one year earlier. She was interred in the Holy Cross Cemetery in Culver City. May McAvoy has a star on the Hollywood Walk of Fame at 1731 Vine Street.
Sources: Dave Lobosco on greatentertainersarchives.blogspot.com/2013/07/may-mcavoy..., Wikipedia (English and German), and IMDb.
British postcard by Rotary Photo, London, no. S. 63-5. Photo: Moody, N.Y.
Mary Miles Minter (1902-1984) was an American silent screen actress.
Mary Miles Minter was born Juliet Reilly in Shreveport as the daughter of Broadway actress Charlotte Shelby. Shelby himself wanted that Juliet and her older sister Margaret also became stage actresses. One night when there was no babysitter available Juliet accompanied her sister to an audition, was discovered and got her first stage role. In order to avoid the Child Labor Act, she used her cousin's passport and took the name "Mary Miles Minter". As a result, she debuted in film in 1912 and in 1915 got her first substantial lead in a feature, The Fairy and the Waif (Marie Hubert Frohmann, George Irving, 1915). With her innocent appearance, Soon after, she started to work for Metro Pictures, while in 1916 she moved on to Mutual Pictures - always playing the leads, despite her young age. In 1917 she moved to the American Film Company, where Henry King often directed here, and in 1918 she traded American for Paramount. Minter became popular and grew into the rival of Mary Pickford.
In 1919 Mary Miles Minter made her most famous film, Anne of Green Gables (presumably a lost film), with director William Desmond Taylor. The film became a huge success, as a result of which Taylor started to promote the actress so that she would grow into a legendary star. Eventually, she got into a relationship with the 30-year-old man. Several films with Minter in the lead were made by their newly founded production company Realart Pictures, but distributed by Paramount. Taylor initially directed her there, but after a few films, various other directors stepped in, such as Paul Powell and Joseph Henabery.
In 1922 Taylor was murdered in his house. Mary Miles Minter told in an interview in 1970 that she collapsed when she saw his body in the morgue. His death became a popular topic in the media and took place while Minter was in the prime of her career. The perpetrator could not be found and her mother Charlotte Shelby was long known as a suspect. In 1937, when the case was still unresolved, Minter demanded that she be given a prison sentence or that the case would be left alone. Eventually, it was announced in 1999 that Ella Margaret Gibson admitted on her deathbed in 1964 that she had committed the murder. Not much later she died of a heart attack.
After the death of Taylor, Mary Miles Minter made four more films for Paramount. Trail of the Lonesome Pine, her latest film, was released in 1923. After her contract was not renewed, she received many other offers, but she refused all because she said she was never happy during the times that she was an actress. Minter has told in interviews that she was much happier after her Hollywood years, although she was robbed in her own home in the 1970s and 1980s. She also sued her mother for all the money she had gained by filming and got a settlement out of court. Minter died of a stroke at the age of 82. All in all, she did some 55 films of which just a little over a fifth survives.
Sources: Wikipedia (English and Italian) and IMDb.
And, please check out our blog European Film Star Postcards.
Original work entitled: "Der Vanderer ueber dem Nebelmeer"
Eng. transl.: "The hiker above the sea of fog"
> Hand made by a child aged 12 <
American postcard by Max B. Sheffer Card Co., Chicago (M.B.S.C.Co.). Photo: Realart. Mary Miles Minter in The Heart Specialist (Frank Urson, 1922).
Mary Miles Minter (1902-1984) was an American silent screen actress.
Mary Miles Minter was born Juliet Reilly in Shreveport as the daughter of Broadway actress Charlotte Shelby. Shelby himself wanted that Juliet and her older sister Margaret also became stage actresses. One night when there was no babysitter available Juliet accompanied her sister to an audition, was discovered and got her first stage role. In order to avoid the Child Labor Act, she used her cousin's passport and took the name "Mary Miles Minter". As a result, she debuted in film in 1912 and in 1915 got her first substantial lead in a feature, The Fairy and the Waif (Marie Hubert Frohmann, George Irving, 1915). With her innocent appearance, Soon after, she started to work for Metro Pictures, while in 1916 she moved on to Mutual Pictures - always playing the leads, despite her young age. In 1917 she moved to the American Film Company, where Henry King often directed here, and in 1918 she traded American for Paramount. Minter became popular and grew into the rival of Mary Pickford.
In 1919 Mary Miles Minter made her most famous film, Anne of Green Gables (presumably a lost film), with director William Desmond Taylor. The film became a huge success, as a result of which Taylor started to promote the actress so that she would grow into a legendary star. Eventually, she got into a relationship with the 30-year-old man. Several films with Minter in the lead were made by their newly founded production company Realart Pictures, but distributed by Paramount. Taylor initially directed her there, but after a few films, various other directors stepped in, such as Paul Powell and Joseph Henabery.
In 1922 Taylor was murdered in his house. Mary Miles Minter told in an interview in 1970 that she collapsed when she saw his body in the morgue. His death became a popular topic in the media and took place while Minter was in the prime of her career. The perpetrator could not be found and her mother Charlotte Shelby was long known as a suspect. In 1937, when the case was still unresolved, Minter demanded that she be given a prison sentence or that the case would be left alone. Eventually, it was announced in 1999 that Ella Margaret Gibson admitted on her deathbed in 1964 that she had committed the murder. Not much later she died of a heart attack.
After the death of Taylor, Mary Miles Minter made four more films for Paramount. Trail of the Lonesome Pine, her latest film, was released in 1923. After her contract was not renewed, she received many other offers, but she refused all because she said she was never happy during the times that she was an actress. Minter has told in interviews that she was much happier after her Hollywood years, although she was robbed in her own home in the 1970s and 1980s. She also sued her mother for all the money she had gained by filming and got a settlement out of court. Minter died of a stroke at the age of 82. All in all, she did some 55 films of which just a little over a fifth survives.
Sources: Wikipedia (English and Italian) and IMDb.
And, please check out our blog European Film Star Postcards.
(Realart, R-1949).
Title Lobby Card (11" X 14").
Frankenstein Meets The Wolfman
youtu.be/5jkW_Ip1zzw?t=6s Part 1
Starring Bela Lugosi, Lon Chaney Jr., Patric Knowles, Ilona Massey, Lionel Atwill, Maria Ouspenskaya, Dennis Hoey, Don Barclay, Rex Evans, Dwight Frye, Harry Stubbs, David Clyde, Sonia Darrin, Cyril Delevanti, and Charles Irwin. Directed by Roy William Neill.
In 1943, Universal cranked out yet another so-so sequel, but created the first monster vs. monster films. Frankenstein Meets the Wolfman (FMW) is a double sequel. It is the fifth chapter in the Frankenstein saga, and a first sequel for the Wolfman ('41). As the Frankenstein fifth film, the story is weak, yet it is a highly significant chapter because Bela Lugosi plays the monster. (more in Notes section) Curt Siodmak, who penned many 50s sci-fi screenplays, wrote this sequel to his popular 1941 Wolfman film. Siodmak would also write the chapter, House of Frankenstein in 1944.
Synopsis
Grave robbers break into the Talbot family crypt looking for jewelry. They open the casket of Laurence Talbot, letting in a beam of moonlight. This revives the immortal werewolf. Laurence is found unconscious on a Cardiff street. He is taken to the hospital. Dr. Mannering and Inspector Owen don't believe he can turn into a wolfman and kill people, but change their mind when they see the casket is empty. Larry runs away and finds Maleva, the gypsy woman whose werewolf son bit him and made him a werewolf. She says a Dr. Frankenstein can help Larry die and stay dead. They travel from Wales to the village of Visaria. The doctor is dead, but the villagers are hostile towards anyone looking for a Frankenstein. Larry, turned to a werewolf, killed a young woman and got chased by the usual mob of angry villagers. He falls into the basement catacombs of the old castle. Next morning, now as Larry, he finds the monster encased in ice. He digs him out and asks him to locate the diaries. No success. Larry poses as a Mr. Taylor, pretending to want to buy the estate so he can meet baroness (Elsa) Frankenstein. He asks her for the diaries, but she pretends not to know. A quaint village festival of the new wine waxes musical. Larry loses his cool at the song lyrics which speak of living forever. Dr. Mannering followed Larry's trail of murders across Europe to find him in Visaria. He and Elsa find Larry hiding in the castle ruins. She opens the secret compartment revealing the diaries. Dr. Mannering thinks he know how to de-activate both the monster and Larry. The townsfolk fret and worry over what Dr. Mannering and "that Frankenstein woman" are doing up in the castle. Barkeper Vasec proposes they blow up the dam and flood the castle, killing them. No one signs onto his plan. They all go out to see the castle glowing from the electric arcs. Mannering has the the two hooked up to the machines. At the last moment, he can't deactivate the monster, but wants to see it at full power. He charges the monster. Filled with new power, the monster rips off his restraints. He chases and grabs Elsa. Talbot turned into the Wolfman. He stops the monster. The two fight, trashing the lab. Mannering and Elsa escape the castle. Vasec rigged explosives at the dam and blows it up. A model flood sweeps down on a model castle. It crumbles into rubble. The End.
The "science" is thinner in this chapter of the saga. Dr. Mannering recites some generalisms about entropy. The monster was energized with the life-giving cosmic rays. The "key" to deactivating him, is draining off his energy by reversing the poles of Frankenstein's sparky machines. Having Curt Siodmak as the screenwriter, gives FMW a family link to Golden Era sci-fi. Siodmak wrote some early sci-fi, such as F.P. 1 Doesn't Answer ('33), but also many 50s titles, such as: Donovan's Brain ('53), Magnetic Monster ('53), Riders to the Stars ('54) Creature With the Atomic Brain ('55) and Earth vs. Flying Saucers ('57).
The only carryovers from the fourth movie was the monster and baroness Elsa (daughter of Ludwig from "Ghost"). Elsa is played by a different actress. The monster is played by Bela Lugosi. While he doesn't have the build or stature for a good monster portrayal, the logic was that he would speak with Ygor's voice, as he did at the end of the fourth movie. This, since he got Ygor's brain. The blindness from the end of the fourth movie also explains the raised stiff arms Lugosi uses.
FMW may be a lesser-grade sequel, but it is historically significant because Bela Lugosi plays the monster (the only time he does). Back in 1931, when Universal was planning the original Frankenstein film to follow up their success with Dracula, they wanted Lugosi to play the monster. He made such a good Dracula, his name would have marquee power. Lugosi is said to have turned down the role because it had no speaking parts. Universal then tapped Boris Karloff, who had played mostly uncredited bit parts. Karloff then went on to greater fame as the monster. Lugosi may still not have been keen on playing the monster, but since it got Ygor's brain in the previous film, and the monster was to speak (like Ygor). He agreed.
Ironically, even though Lugosi's monster had some speaking lines, they all got edited out. The traditional story is that test audiences laughed at the monster speaking with Ygor's voice, so Universal cut them all out. Something doesn't line up in this traditional. The monster spoke with Lugosi's Ygor voice at the end of the previous film and it caused no laughter. Perhaps Universal was disingenuous about letting Lugosi have speaking lines. Perhaps they felt it better keep their cash-cow monster a mute beast. Maybe Lugosi's talking monster wasn't as frightening as speechless monster. Supposedly, his lines were to have explained his partial blindness (and hence his iconic stiff armed walk), as well as some back story tying in the previous film. Apparently this was not not crucial. Fans of the saga knew those details anyway.
Universal themselves contributed to the ongoing confusion over the name of the monster. The title of the film (and posters) show the monster fighting the Wolfman. To the average Joe, that meant the name of the monster was "Frankenstein." It seems unlikely that the title refers to Elsa Frankenstein meeting the Wolfman. Although she does chat with Talbot. in the mayor's office and at the festival, this hardly seems like a film's title moment.
Fans of the saga would have known that the ending of the film was really no ending at all. The Wolfman could not die. We learned that in the first half of the film. A mere flood wouldn't kill him. The monster, too, was deemed immortal earlier. Neither fire, nor cave-in, nor being frozen, nor molten sulphur had killed him before. Why would a mere flood kill him? Fans knew it would not. Universal was leaving their sequel options open
There must be something about those Frankenstein women. In the original story, the abandoned monster is jealous of the doctor's wife because SHE gets his attention. In the 1910 Edison version, the monster is also jealous of the doctor's young bride. This plays out too in the 1931 version. The monster seems almost lusty for Elizabeth. In Bride, the monster actually kidnaps Elizabeth. Now in FMW, the monster carries off the lovely Elsa.
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The Bride of Frankenstein (Realart, R-1953). Lobby Card(11" X 14").Bride of Frankenstein. Full Feature. www.veoh.com/watch/v68308074se9ajHpk
Universal Pictures followed up their highly successful Frankenstien with what has to be one of the best sequels out of Hollywood. James Whale's Bride of Frankenstein (BoF) had many factors contributing to its success. For some of those, see the Notes section below. It is a bigger, richer tale. Two key cast members reprised their roles. Colin Clive again played the obsessed and tormented Henry Frankenstein. Boris Karloff again played the monster. Other lesser characters were picked up by new faces. A couple of new characters were added. To some, BoF surpasses the original. Few sequels get such acclaim.
Synopsis
The film opens on a suitably dark and stormy night in the early 1800s. Mary Shelley, Percy Shelley and Lord Byron sit around a fire talking of Mary's story. Was that how it ended? No. Mary tells what happened next. (cross fade to burning windmill). The crowds filter on home. Maria's father insists on seeing the body of the monster, so goes into the smoking rubble. He falls into the water filled cellar. The monster is there too, much alive. He drowns Hans. The monster emerges. The crowd took Henry back to his family castle, thinking he was dead, but he moves his hand. He's Alive! He swears to never dabble in man-making again. Just then, a sketchy former classmate arrives. Dr. Pretoreous heard of Henry's work and wants him to partner, to make a perfect man. Henry goes to Pretorious' lab to see his work. Six glass jars, each with a miniature person inside. A queen, a king, a bishop, a devil, a ballerina and a mermaid. Pretorious makes them from raw materials, not dead body parts, but can only make smaller things. He wants Henry to make a full-sized body again. Pretorious would supply the brain. Meanwhile, the monster roams the woods. A shepherdess sees him, screams and falls in a river. The monster rescues her, but hunters heard her screams and shoots the Monster in the arm. A new mob combs the woods finally capturing the monster. They haul him into town and chain him in a jail cell. Stronger than his chains, the monster escapes and rampages around the village awhile before fleeing into the woods again. Tired, hurt and hungry, the monster comes to the shack of an old blind hermit. The hermit befriends the monster, eventually teaching him to talk. Hunters find the monster in the shack, so he flees again. Yet another mob chases him through the woods. The monster goes down into a crypt to hide. There, he sees Pretorious and henchmen stealing body parts (bones). When henchmen leave, Pretorious entertains the monster and suggests Henry should build him a woman, a mate. The monster likes that idea. Pretorious tells Henry it's time to start building. Henry refuses. Pretorious has the monster kidnap Elizabeth and take her to a cave. Her ransom is to build the new woman. Henry, under duress, starts working in the old tower again. They have the "bride" done and exposed to dramatic sparks. She's Alive! When the monster comes in to meet his bride, she screams and runs from him. Enraged that even his own kind rejects him, the monster rampages around the lab. This lab is equipped with a self-destruct lever, (for some reason). The monster starts to pull it. He tells Henry to get away with Elizabeth (now free). "You go. You live." He pulls the lever and the tower blows up dramatically, crumbling to rubble. Henry and Elizabeth embrace on an adjacent hilltop. The End.
Much of Henry's prior electro-biology technology is reused. The equipment is ramped up a bit, though. Henry uses two 3-winged kites (ala Ben Franklin) to gather lightening. Pretorious' process is more akin to alchemy, and in that way similar to the "science" used in Edison's 1910 version.
The plot in BoF is an expansion on elements in Mary's original novel. In her story, the monster demands that Victor create a mate for him. In BoF, it was Pretorious who pushes the idea. The scene with the hermit befriending the monster is a good parallel to the DeLacy family whom Mary's monster lived with for awhile, there learning to talk, etc.
BoF is such a close sequel, it is more like the second part of a single story. It picks up immediately where the first film left off. After all the action, things return to pretty much where they started. A notable exclusion is Henry's father, the old baron. Suddenly, even though it is the "same night", the old baron is gone and Henry is "now" the baron. Despite all the action, BoF ends as it began. Henry and Elizabeth survive and want to put all the nastiness behind them. The monster is, again, presumed to have died in a dramatic architectural collapse.
Superior Sequel -- Where most sequels falter is that they try to do the same thing as the original, with just a little variation. It is as if the writers or producers don't dare tamper with "success". James Whale was bold. He continued the story in the same time line. He kept the 2 main characters. They start out as they left off, but change (grow) during the film. Whale introduces a key antagonist and some potent sub-plots. The 1931 film was spartan and a bit claustrophobic, with two worlds -- one sane, one unstable. This befit the birth of the creature. BoF is a wider tale, with more characters and much more going on. This is befitting the monster's growth into personhood. BoF is clearly not just a retread, Frankenstein II.
Ernest Thesiger plays Dr. Pretorious, who is a Mephistopheles-like character. This lends a very Faustian flavor to the saga. When Pretorius is showing off his miniature people, he shows off his miniature bishop, the voice of morality. Then he shows his fourth. "This one is the very devil. There is a certain resemblance to me, don't you think? Or do I flatter myself?"
In a broadening of the monster character from the first movie, the monster learns to speak. Granted, they're rudimentary sentences. "Friend…Good." But, even with just a few words, a deep range of the monster's thoughts and desires become known. It is said that Boris Karloff objected, at first, to having "his" monster speak. But he did and it made the monster much more "human" and sympathetic.
Consider how the screenwriters and Whale made the monster an allegory of Jesus. Note these parallels. He did not have the usual mom-dad-birth, but has a creator. He was befriended by the poor, but rejected by the better-off. Some of the visuals are too obvious to ignore. He was hung on a pole (half a cross). Watch the scene where they're hammering in the chain rings in the jail. This is a strong parallel to the nailing of Christ's hands. Then, note at the end of the film, the monster acts noticeably out-of-character for a horror film monster. Instead, he (again) parallel's Christ, in that he voluntarily gives up his own life to save someone else, and to wipe away that person's "sins" and the devilish power of temptation over them. All this Christ-parallel is a very curious inclusion, but it clearly adds depth to the BoF story.
BoF exacerbates the name confusion over who is "Frankenstein" -- the man or the monster. When the female creature is unveiled, Pretorious declares, "Behold, the bride of Frankenstein." Most people take that to mean the bride of the monster. Yet, it could still mean the "bride" that Henry created. The poster adds another layer of ambiguity, by suggesting that the monster ("frankenstein") might chose either Elizabeth or the new woman as his bride. (The monster does kidnap Elizabeth at one point -- the primeval bride-selection method). Yet, Elizabeth is also the bride of Henry. More ambiguity!
James Whale made his sequel much more complex by weaving in occasional comic moments. Some of it verges on camp, as with most of the scenes with Minnie (Henry's old biddy house keeper). Even the monster drinking and smoking, saying lines like "Smoke… Good." were designed to get a laugh. Some humor was more subtle, such as Pretorious saying that each vice, wine, cigars, etc. were "his only weakness." Happily, the humor and camp did not overtake the deeper plot. This early bit of comic relief, though, does open the door for later films like Abbott and Costello Meet Frankenstein.
BoF is another classic that should be seen. Perhaps the best way is to watch the 1931 film and BoF as a double feature. Much of what "worked" in the original is still in the sequel, but BoF adds new, vibrant material. Whale weaves a complex, yet not confusing, plot and paces it very quickly. Bride of Frankenstein is a movie milestone that even all old movie fans should experience.
Hommage to the artist Jacob Sibbern (member of our artists collective Flickr profile).
Hand made by a child, at that time aged ten, who then declared:
"I remade the forte and fragile child of Jacob to draw a smile in the face of the child who was too sad".
Ref. DSCF9484, photographed with Fujifilm FinePix L50 camera
Title / Titre :
Poster of Mary Miles Minter in the 1919 Anne of Green Gables film /
Affiche de Mary Miles Minter dans le film Anne… la maison aux pignons verts, 1919
Creator(s) / Créateur(s) : Realart Pictures Incorporated (Paramount Pictures Incorporated)
Date(s) : Unknown / Inconnu
Reference No. / Numéro de référence : ITEM 213309
central.bac-lac.gc.ca/.redirect?app=fonandcol&id=2133...
Location / Lieu : Unknown / Inconnu
Credit / Mention de source :
Realart Pictures Incorporated (Paramount Pictures Incorporated). Ron Cohen film poster collection. Library and Archives Canada, e011171302
“L.M. Montgomery” is a trademark of Heirs of L.M. Montgomery Inc. “Anne of Green Gables” is a trademark and a Canadian official mark of the Anne of Green Gables Licensing Authority Inc. /
Realart Pictures Incorporated (Paramount Pictures Incorporated). Ron Cohen film poster collection. Bibliothèque et Archives Canada, e011171302
" L.M. Montgomery " est une marque de commerce de la Succession de L.M. Montgomery Inc. " Anne … La Maison aux pignons verts " est une marque de commerce et une marque canadienne officielle de l'Anne of Green Gables Licensing Authority Inc.
2020 apr 16
Part of interactive virtual gallery. Video capture.
To see all 37 pictures of this collection from 2 exhibitions in Malaysia and 1 in the UK, in the full 19 minute video, go to >> www.youtube.com/watch?v=44OSvIDWHeY&t=36s
To interact fully LIVE with all 135 pieces of the exhibition, go to >>> www.artsteps.com/view/5e79455da71cf41808b4e62a Th you for your viewing and encouragements. jAm
All pictures 'hung' are not digital-art but delivered through macrophotography of physical constructs using household materials.
camera for all pictures - Pentax K-50 with 50mm m42 screwmount lens via extension tube.
music - 'mr shirokawa' (jAm, 2007)
Gratitude to families of portrait subjects.
British postcard by John Horn, London/Glasgow. Bolton's-Mutual Star.
Mary Miles Minter (1902-1984) was an American silent screen actress.
Minter was born as Juliet Reilly in Shreveport as daughter of Broadway actress Charlotte Shelby. Shelby himself wanted that Juliet and her older sister Margaret also became stage actresses. One night when there was no babysitter available Juliet accomapnied her sister to an audition, was discovered and got her first stage role. In order to avoid the Child Labor Act, she used her cousin's passport and took the name "Mary Miles Minter". As a result, she debuted in film 1912 and in 1915 got her first substantial lead in a feature, The Fairy and the Waif (Marie Hubert Frohmann, George Irving, 1915). With her innocent appearance, Soon after, she started to work for Metro Pictures, while in 1916 she moved on to Mutual Pictures - always playing the leads, despite her young age. In 1917 she moved to the American Film Company, where Henry King often directed here, and in 1918 she traded American for Paramount. Minter became popular and grew into the rival of Mary Pickford.
In 1919 she made her most famous film, Anne of Green Gables (presumably a lost film), with director William Desmond Taylor. The film became a huge success, as a result of which Taylor started to promote the actress, so that she would grow into a legendary star. Eventually she got a relationship with the 30-year-old man. Several films with Minter in the lead were made by their newly founded production company Realart Pictures, but distributed by Paramount. Taylor initially directed her there, but after a few films various other directors stepped in, such as Paul Powell and Joseph Henabery.
In 1922 Taylor was murdered in his house. Minter told in an interview in 1970 that she collapsed when she saw his body in the morgue. His death became a popular topic in the media and took place while Minter was in the prime of her career. The perpetrator could not be found and her mother Charlotte Shelby was long known as a suspect. In 1937, when the case was still unresolved, Minter demanded that she be given a prison sentence or that the case would be left alone. Eventually it was announced in 1999 that Ella Margaret Gibson admitted on her deathbed in 1964 that she had committed the murder. Not much later she died of a heart attack.
After the death of Taylor, Minter made four more films for Paramount. Trail of the Lonesome Pine, her latest film, was released in 1923. After her contract was not renewed, she received many other offers, but she refused all because she said she was never happy in the times that she was an actress. Minter has told in interviews that she was much happier after her Hollywood years, although she was robbed in her own home in the 70s and 80s. She also sued her mother for all the money she had gained by filming and got a settlement out of court. Minter died of a stroke at the age of 82. All in all she did some 55 films of which just little over a fifth survives.
Sources: English and Italian Wikipedia, IMDb.
Son of Frankenstein/Bride of Frankenstein Combo (Realart, R-1948). One Sheet (27" X 41").Full Feature. www.veoh.com/watch/v68308074se9ajHpk
When Realart acquired the Universal sound film library (1930-1946) in 1948, this was one of the first of their many successful double-bills. An entire new generation got to feast on all the best Universal Golden Age monster films ever made, two at a time...and on the cheap. Bride of Frankenstein
Universal Pictures followed up their highly successful Frankenstien with what has to be one of the best sequels out of Hollywood. James Whale's Bride of Frankenstein (BoF) had many factors contributing to its success. For some of those, see the Notes section below. It is a bigger, richer tale. Two key cast members reprised their roles. Colin Clive again played the obsessed and tormented Henry Frankenstein. Boris Karloff again played the monster. Other lesser characters were picked up by new faces. A couple of new characters were added. To some, BoF surpasses the original. Few sequels get such acclaim.
Synopsis
The film opens on a suitably dark and stormy night in the early 1800s. Mary Shelley, Percy Shelley and Lord Byron sit around a fire talking of Mary's story. Was that how it ended? No. Mary tells what happened next. (cross fade to burning windmill). The crowds filter on home. Maria's father insists on seeing the body of the monster, so goes into the smoking rubble. He falls into the water filled cellar. The monster is there too, much alive. He drowns Hans. The monster emerges. The crowd took Henry back to his family castle, thinking he was dead, but he moves his hand. He's Alive! He swears to never dabble in man-making again. Just then, a sketchy former classmate arrives. Dr. Pretoreous heard of Henry's work and wants him to partner, to make a perfect man. Henry goes to Pretorious' lab to see his work. Six glass jars, each with a miniature person inside. A queen, a king, a bishop, a devil, a ballerina and a mermaid. Pretorious makes them from raw materials, not dead body parts, but can only make smaller things. He wants Henry to make a full-sized body again. Pretorious would supply the brain. Meanwhile, the monster roams the woods. A shepherdess sees him, screams and falls in a river. The monster rescues her, but hunters heard her screams and shoots the Monster in the arm. A new mob combs the woods finally capturing the monster. They haul him into town and chain him in a jail cell. Stronger than his chains, the monster escapes and rampages around the village awhile before fleeing into the woods again. Tired, hurt and hungry, the monster comes to the shack of an old blind hermit. The hermit befriends the monster, eventually teaching him to talk. Hunters find the monster in the shack, so he flees again. Yet another mob chases him through the woods. The monster goes down into a crypt to hide. There, he sees Pretorious and henchmen stealing body parts (bones). When henchmen leave, Pretorious entertains the monster and suggests Henry should build him a woman, a mate. The monster likes that idea. Pretorious tells Henry it's time to start building. Henry refuses. Pretorious has the monster kidnap Elizabeth and take her to a cave. Her ransom is to build the new woman. Henry, under duress, starts working in the old tower again. They have the "bride" done and exposed to dramatic sparks. She's Alive! When the monster comes in to meet his bride, she screams and runs from him. Enraged that even his own kind rejects him, the monster rampages around the lab. This lab is equipped with a self-destruct lever, (for some reason). The monster starts to pull it. He tells Henry to get away with Elizabeth (now free). "You go. You live." He pulls the lever and the tower blows up dramatically, crumbling to rubble. Henry and Elizabeth embrace on an adjacent hilltop. The End.
Much of Henry's prior electro-biology technology is reused. The equipment is ramped up a bit, though. Henry uses two 3-winged kites (ala Ben Franklin) to gather lightening. Pretorious' process is more akin to alchemy, and in that way similar to the "science" used in Edison's 1910 version.
The plot in BoF is an expansion on elements in Mary's original novel. In her story, the monster demands that Victor create a mate for him. In BoF, it was Pretorious who pushes the idea. The scene with the hermit befriending the monster is a good parallel to the DeLacy family whom Mary's monster lived with for awhile, there learning to talk, etc.
BoF is such a close sequel, it is more like the second part of a single story. It picks up immediately where the first film left off. After all the action, things return to pretty much where they started. A notable exclusion is Henry's father, the old baron. Suddenly, even though it is the "same night", the old baron is gone and Henry is "now" the baron. Despite all the action, BoF ends as it began. Henry and Elizabeth survive and want to put all the nastiness behind them. The monster is, again, presumed to have died in a dramatic architectural collapse.
Superior Sequel -- Where most sequels falter is that they try to do the same thing as the original, with just a little variation. It is as if the writers or producers don't dare tamper with "success". James Whale was bold. He continued the story in the same time line. He kept the 2 main characters. They start out as they left off, but change (grow) during the film. Whale introduces a key antagonist and some potent sub-plots. The 1931 film was spartan and a bit claustrophobic, with two worlds -- one sane, one unstable. This befit the birth of the creature. BoF is a wider tale, with more characters and much more going on. This is befitting the monster's growth into personhood. BoF is clearly not just a retread, Frankenstein II.
Ernest Thesiger plays Dr. Pretorious, who is a Mephistopheles-like character. This lends a very Faustian flavor to the saga. When Pretorius is showing off his miniature people, he shows off his miniature bishop, the voice of morality. Then he shows his fourth. "This one is the very devil. There is a certain resemblance to me, don't you think? Or do I flatter myself?"
In a broadening of the monster character from the first movie, the monster learns to speak. Granted, they're rudimentary sentences. "Friend…Good." But, even with just a few words, a deep range of the monster's thoughts and desires become known. It is said that Boris Karloff objected, at first, to having "his" monster speak. But he did and it made the monster much more "human" and sympathetic.
Consider how the screenwriters and Whale made the monster an allegory of Jesus. Note these parallels. He did not have the usual mom-dad-birth, but has a creator. He was befriended by the poor, but rejected by the better-off. Some of the visuals are too obvious to ignore. He was hung on a pole (half a cross). Watch the scene where they're hammering in the chain rings in the jail. This is a strong parallel to the nailing of Christ's hands. Then, note at the end of the film, the monster acts noticeably out-of-character for a horror film monster. Instead, he (again) parallel's Christ, in that he voluntarily gives up his own life to save someone else, and to wipe away that person's "sins" and the devilish power of temptation over them. All this Christ-parallel is a very curious inclusion, but it clearly adds depth to the BoF story.
BoF exacerbates the name confusion over who is "Frankenstein" -- the man or the monster. When the female creature is unveiled, Pretorious declares, "Behold, the bride of Frankenstein." Most people take that to mean the bride of the monster. Yet, it could still mean the "bride" that Henry created. The poster adds another layer of ambiguity, by suggesting that the monster ("frankenstein") might chose either Elizabeth or the new woman as his bride. (The monster does kidnap Elizabeth at one point -- the primeval bride-selection method). Yet, Elizabeth is also the bride of Henry. More ambiguity!
James Whale made his sequel much more complex by weaving in occasional comic moments. Some of it verges on camp, as with most of the scenes with Minnie (Henry's old biddy house keeper). Even the monster drinking and smoking, saying lines like "Smoke… Good." were designed to get a laugh. Some humor was more subtle, such as Pretorious saying that each vice, wine, cigars, etc. were "his only weakness." Happily, the humor and camp did not overtake the deeper plot. This early bit of comic relief, though, does open the door for later films like Abbott and Costello Meet Frankenstein.
BoF is another classic that should be seen. Perhaps the best way is to watch the 1931 film and BoF as a double feature. Much of what "worked" in the original is still in the sequel, but BoF adds new, vibrant material. Whale weaves a complex, yet not confusing, plot and paces it very quickly. Bride of Frankenstein is a movie milestone that even all old movie fans should experience.
2020 apr 14
To see all 35 pictures of this collection in the full 14 minute video, go to >> www.youtube.com/watch?v=b2pX9SKRWzQ&t=7s
To interact fully LIVE with all 135 pieces of the exhibition, go to >>> www.artsteps.com/view/5e79455da71cf41808b4e62a Th you for your viewing and encouragements. jAm
All pictures 'hung' are not digital-art but delivered through macrophotography of physical constructs using household materials.
camera for all pictures - Pentax K-50 with 50mm m42 screwmount lens via extension tube.
music - 'What The Funk' - by Crazy White Trash - jAm and friends 2017)
Gratitude to families of portrait subjects.
Video capture, part of interactive virtual gallery.
House of Frankenstein, 1944
(Realart, R-1950). One Sheet (27" X 41”).
Starring Boris Karloff, Lon Chaney, Jr., John Carradine, J. Carrol Naish, Anne Gwynne, Peter Coe, Lionel Atwill, Elena Verdugo, George Zucco, and Sig Ruman. And Glenn Strange as The Monster…Directed by Erle C. Kenton.
Texas-born Glenn Strange (1899-1973) Worth noting: Strange was paid a measly $500 for two weeks of work on the film. In the Fifties, when westerns were a television staple, Strange worked all the classic series from Hopalong Cassidy and Gene Autry to The Rifleman, Cheyenne, and Rawhide, eventually earning a regular spot, starting in 1961, on Gunsmoke, quietly polishing shot glasses through 210 episodes as the rock steady, mustachioed bartender, Sam.
In fantasy films, Strange first appeared, briefly and uncredited, as one of Ming’s minions in a 1936 Flash Gordon serial. In 1942’s The Mad Monster, a Poverty Row B-movie devised to cash in on the runaway success of Universal’s The Wolf Man (1941), Strange’s size served the part of Petro, a hulking, simple-minded handyman who turns into a hairy, fanged monster.
Glenn Strange’s most famous and enduringly popular role, no doubt, was playing the last of Universal’s Frankenstein Monsters. By 1944, the Monster had become a stock character, trotted out with Dracula and The Wolf Man in kitchen sink monster rallies. In House of Frankenstein (1944) and House of Dracula (1945),http://youtu.be/fF_o10k54-0?t=2s
the monsters, with attendant hunchbacks and mad doctors, were displayed and quickly dispatched in what amounts to individual vignettes, with little or no interaction. Strange’s Frankenstein, after spending most of the show strapped to a slab, was activated in time for a short, climactic walkabout and a quick, catastrophic end.
Without a lot of screen time and very little to do besides glowering at torch-bearing villagers, Strange’s contributions might have been a footnote to Frankenstein film history if not for an unlikely third film, the brilliant Abbott and Costello Meet Frankenstein (1948).
With a stellar cast that included Chaney as The Wolf Man and Bela Lugosi as Dracula, Strange’s Monster was a central character, interacting with the principals and chasing The Boys in a wild, genuinely funny romp that became one of the most influential movie comedies ever made.
Strange would go on to promote the film with a number of personal appearances wearing an over-the-head mask made for him by Don Post, eventually appearing again with Abbott and Costello, with The Creature from the Black Lagoon thrown in for good measure, in a 1954 episode of The Colgate Comedy Hour on TV. The affable actor even participated in one of fan-filmmaker Don Glut’s 16mm epics, the Frankenstein’s Fury episode of Adventures of The Spirit, in 1963.
The Frankenstein makeup worked very well with Strange’s craggy deadpan. With a boxy head, big shoulders and his trademark windup-toy thread, Glenn Strange gave the Frankenstein Monster its definitive pop culture profile. It was Glenn Strange’s features that would be sampled for a best-selling Frankenstein rubber mask, and his face that was repeatedly used on toy packaging. Significantly, perhaps inevitably, when Boris Karloff died in 1969, most newspaper obits were illustrated with a photo of Glenn Strange in Frankenstein makeup.