Word: filming
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Dates: during 1920-1929
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Twinkletoes (Colleen Moore). In this film with an English setting, Colleen Moore, wearing a blonde wig, looks like Lillian Gish, enacts a limehouse lily as Dorothy Gish would (TIME, Nov. 8). A peppery toe-dancer, she leaps to the heart of Prizefighter Chuck Lightfoot, who is so severely jabbed that he counters by helping Twinkletoe's rascally parent (Tully Marshall) out of a counterfeit crime, and himself into the hands of the police. Then, a subtitle records the passage of a year and a happy ending. Colleen Moore entertains...
...would reproduce the image-fractions. To throw these images together on a screen he had arranged 24 mirrors on the periphery of a swiftly rotating drum. The reflection of a series of rapidly changing images induced the optical effect of a moving picture, after the fashion of a cinema film. The possibilities: synchronized with sound-carrying radio, the sight-carrying radio might some day bring before the eyes of a man in Kankakee, Ill., the coronation of a king in Westminister;* it might enable folk to "go to the theatre" by turning a switch. Immediate possibilities: "air letters" (facsimiles) transmitted...
...curious thing about Potemkin is that Director S. M. Eisenstein, striving religiously to make his film the drama of a group, almost permits one character to emerge as hero. Such an effect would have ruined the general scheme, yet so keenly does the need for individual enterprise make itself felt, in even a glorified crowd, that the proletarian artist must give it at least grudging recognition...
Faust (Emil Jannings). The German film, by Ufa, creator of The Last Laugh, Siegfried, Variety, achieves a triumph in photographic fantasy. From the ever-serviceable Faust story is derived a weird fairytale, a picture story of the powers of evil on earth. Through it all goes Emil Jannings, a not particularly impressive Devil, making funny faces, playing mean pranks, raising hell. In the end, however, he loses his wager with the Lord's archangel, for Faust regained a soul by dying at the side of Marguerite with LOVE in his heart. A story not without significance, but florid rather than...
Michael Strogoff. The French film impresses one as being very like The Perils Of Pauline telescoped into one sitting (in Siberia) and inverted into the masculine gender. The hero, as told in Jules Verne's novel, is solemnly commissioned by the Tsar Alexander to take a message from Moscow to the Grand Duke in Irkutsk. After encountering the Tartar hordes single-handed for no good reason, Mike arrives in time to kill the archvillain with his bare hands. The motivation puerile, the photography clumsy, it has, however, some good horse-backing...