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105-489: My Best Girl is a 1927 American silent romantic comedy film directed by Sam Taylor starring Mary Pickford and Charles "Buddy" Rogers that was produced by Pickford. Rogers later married Pickford. Charles Rosher received an Academy Award nomination for his cinematography of this film in 1928. The film is extant and was screened at the Eastman Museum in 2015. The film starts out at The Merrill Department store where

210-445: A 16 fps projection of the same reel would take 16 minutes and 40 seconds, or 304 millimetres (12.0 in) per second. In the 1950s, many telecine conversions of silent films at grossly incorrect frame rates for broadcast television may have alienated viewers. Film speed is often a vexed issue among scholars and film buffs in the presentation of silents today, especially when it comes to DVD releases of restored films , such as

315-414: A check for $ 10,000 just as Joe arrives, unaware his father is there. Joe tells Maggie his plans and she becomes upset. Angry, she begins a whole tirade against him trying to find out if he really loved her or not. She begins to claim she is just a jazz girl and knew who he was all along. That she was a gold digger and just after his money and, thanks to his father, she now had what she wanted. She even plays

420-423: A comedic scene he commands everyone (including both Merrills) to pack Maggie's things for the ship which leaves in ten minutes. After an extreme car ride, the couple barely make it to the departing boat. Once boarded, the father realizes he never gave Maggie her suitcase. He tries to throw the suitcase onto the boat, but it ends up in the ocean. The couple waves goodbye and eventually get crowded back from view. When

525-456: A jazz record and puts on lipstick in an attempt to prove her point. Joe begins to cry, and Maggie, touched, breaks down and admits that none of it is true and the real reason she cannot go away with him is because of her family (who had been listening in the living room the whole time) who needs her more than he does. Her father becomes livid and declares it was time 'he became the father of the family' and takes charge of his wife and daughters. In

630-413: A key professional in silent film and was often separate from the scenario writer who created the story. Inter-titles (or titles as they were generally called at the time) "often were graphic elements themselves, featuring illustrations or abstract decorations that commented on the action". Showings of silent films almost always featured live music starting with the first public projection of movies by

735-465: A low budget salute to sentimental silent comedies, particularly Charlie Chaplin 's The Kid . The German film Tuvalu (1999) is mostly silent; the small amount of dialog is an odd mix of European languages, increasing the film's universality. Guy Maddin won awards for his homage to Soviet-era silent films with his short The Heart of the World after which he made a feature-length silent, Brand Upon

840-413: A moment which happens to be by the night court. She sees her family arrive and after they chasten her they enter the court to try to save Liz from prison. Meanwhile, Joe arrives at the same spot only to be helped by a homeless man who had watched their interactions. Joe enters the court to hear Maggie's passionate plea for her sister, whom the judge eventually lets go. While Maggie fetches water for her 'on

945-462: A moral panic surrounding frivolous lawsuits. Sharon Thompson's research has demonstrated how public perception of the prevalence of gold digging has created disadvantages for female spouses without their own source of income in the negotiation of alimony cases and prenuptial agreements. The gold digger stereotype triggered public discussions about heartbalm legislation during the 1930s, particularly breach of promise cases. Public outrage surrounding

1050-645: A much longer time for color to be adopted by the industry and an effective process to be developed. Blue represented night scenes, yellow or amber meant day. Red represented fire and green represented a mysterious atmosphere. Similarly, toning of film (such as the common silent film generalization of sepia -toning) with special solutions replaced the silver particles in the film stock with salts or dyes of various colors. A combination of tinting and toning could be used as an effect that could be striking. Some films were hand-tinted, such as Annabelle Serpentine Dance (1894), from Edison Studios . In it, Annabelle Whitford ,

1155-498: A race to design, implement, and market several rival sound-on-disc and sound-on-film sound formats, such as Photokinema (1921), Phonofilm (1923), Vitaphone (1926), Fox Movietone (1927) and RCA Photophone (1928). Warner Bros. was the first studio to accept sound as an element in film production and utilize the Vitaphone, a sound-on-disc technology, to do so. The studio then released The Jazz Singer in 1927, which marked

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1260-404: A setting or era) or key lines of dialogue may, when necessary, be conveyed by the use of inter- title cards . The term "silent film" is something of a misnomer, as these films were almost always accompanied by live sounds. During the silent era, which existed from the mid-1890s to the late 1920s, a pianist , theater organist —or even, in larger cities, an orchestra —would play music to accompany

1365-492: A special effect in many of his films. His 1915 epic The Birth of a Nation used a number of colors, including amber, blue, lavender, and a striking red tint for scenes such as the "burning of Atlanta" and the ride of the Ku Klux Klan at the climax of the picture. Griffith later invented a color system in which colored lights flashed on areas of the screen to achieve a color. With the development of sound-on-film technology and

1470-451: A surprise. Joe has been promoted and is now Maggie's boss. However, he still eats lunch with her every day in the stockroom. During one such lunch, after receiving the note to join his parents for dinner (for the surprise party), Maggie gives him a watch for his birthday. He is touched and puts it on. Shortly after this he accidentally catches his sleeve on a nail. Trying to pull himself free, he accidentally puts his arm around Maggie, and after

1575-401: A very exhausted stockgirl named Maggie Johnson (Mary Pickford) is given a moment to attend to the sales counter. There she encounters a charming handsome man who pretends to be interested in purchasing some children's toys but, after many humorous demonstrations by Maggie, the manager comes over and gives the man his time card. The man is said to be Joe Grant (Buddy Rogers) though in reality he is

1680-486: A villainous foil, as in both versions of Disney's film The Parent Trap . The gold digger image or trope appears in several popular songs, including " My Heart Belongs to Daddy " (1938), " Diamonds Are a Girl’s Best Friend " (1949), " Santa Baby " (1953), " She Got the Goldmine (I Got The Shaft) " (1982), and " Material Girl " (1984). Rap music 's use of the "gold digger script" is one of a few prevalent sexual scripts that

1785-408: A wall or screen. After the advent of photography in the 19th century, still photographs were sometimes used. Narration of the showman was important in spectacular entertainment screenings and vital in the lecturing circuit. The principle of stroboscopic animation was well-known since the introduction of the phenakistiscope in 1833, a popular optical toy , but the development of cinematography

1890-421: A wealthy man in order to achieve or maintain a level of socioeconomic status. The term rose in usage after the popularity of Avery Hopwood 's play The Gold Diggers in 1919. Hopwood first heard the term in a conversation with Ziegfeld performer Kay Laurell . As an indication on how new the slang term was, Broadway producers urged him to change the title because they feared that the audience would think that

1995-494: A young dancer from Broadway, is dressed in white veils that appear to change colors as she dances. This technique was designed to capture the effect of the live performances of Loie Fuller , beginning in 1891, in which stage lights with colored gels turned her white flowing dresses and sleeves into artistic movement. Hand coloring was often used in the early "trick" and fantasy films of Europe, especially those by Georges Méliès . Méliès began hand-tinting his work as early as 1897 and

2100-486: Is a dramatic woman who enjoys going to random funerals and makes frequent use of smelling salts to avoid fainting. Her sister Liz ( Carmelita Geraghty ) is a flapper who has a boyfriend who gets her into trouble. Maggie does her best to hide the goings on but eventually caves and sends Joe on his way hoping to have dinner with him another day. Time passes and Joe's mother is planning his engagement announcement party. However, she has not mentioned it to him, hoping to make it

2205-469: Is a slang term that has its roots among chorus girls and sex workers in the early 20th century. In print, the term can be found in Rex Beach 's 1911 book, The Ne'er-Do-Well , and in the 1915 memoir My Battles with Vice by Virginia Brooks . The Oxford Dictionary and Random House 's Dictionary of Historical Slang state the term is distinct for women because they were much more likely to need to marry

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2310-416: Is amazed that it is the real deal. Joe is amused by her reluctance but eventually gets her into the mansion, much to the butler's amusement. Maggie is extremely reluctant until Joe convinces the butler to say 'a Merrill employee eats here almost every night!' Maggie relaxes and tells Joe they should pretend to be Mr. and Mrs. Merrill. Joe is extremely amused by this, and at her lack of formal dinner habits. At

2415-657: Is challenging to capture genuine emotion on a cold piece of celluloid, but falling in love is beautifully immortalized in My Best Girl .” On October 31, 2017 the restaurant Best Girl opened on the ground floor of the Ace Hotel in downtown Los Angeles, 90 years from the release date of the movie and named in its honor. Silent film A silent film is a film without synchronized recorded sound (or more generally, no audible dialogue ). Though silent films convey narrative and emotion visually, various plot elements (such as

2520-410: Is outside waiting for Joe. She appears to have a crush on him. Some of her coworkers tease her but eventually warn her that Joe is coming, causing Maggie to hop on her ride home from work: the back of an open truck. Joe is swarmed with salesgirls who try for his attention causing him to not focus on Maggie. Determined Maggie throws her bag on the ground as the vehicle pulls away. Joe picks it up and chases

2625-448: Is silent during its middle third, complete with intertitles; Stanley Tucci 's The Impostors has an opening silent sequence in the style of early silent comedies. Brazilian filmmaker Renato Falcão's Margarette's Feast (2003) is silent. Writer/director Michael Pleckaitis puts his own twist on the genre with Silent (2007). While not silent, the Mr. Bean television series and movies have used

2730-535: The benshi , a live narrator who provided commentary and character voices. The benshi became a central element in Japanese film, as well as providing translation for foreign (mostly American) movies. The popularity of the benshi was one reason why silent films persisted well into the 1930s in Japan. Conversely, as benshi -narrated films often lacked intertitles, modern-day audiences may sometimes find it difficult to follow

2835-438: The "talkies", "sound films", or "talking pictures" . The idea of combining motion pictures with recorded sound is older than film (it was suggested almost immediately after Edison introduced the phonograph in 1877), and some early experiments had the projectionist manually adjusting the frame rate to fit the sound, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in

2940-421: The audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy . The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. Vaudeville was an especially popular origin for many American silent film actors. The pervading presence of stage actors in film

3045-553: The nitrate filmstock used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed, because they had negligible remaining immediate financial value in that era. It has often been claimed that around 75 percent of silent films produced in the US have been lost, though these estimates are inaccurate due to a lack of numerical data. Film projection mostly evolved from magic lantern shows, in which images from handpainted glass slides were projected onto

3150-522: The 1899 Cendrillion (Cinderella) and 1900 Jeanne d'Arc (Joan of Arc) provide early examples of hand-tinted films in which the color was a critical part of the scenography or mise-en-scène ; such precise tinting used the workshop of Elisabeth Thuillier in Paris, with teams of female artists adding layers of color to each frame by hand rather than using a more common (and less expensive) process of stenciling. A newly restored version of Méliès' A Trip to

3255-550: The 1930s, the term "gold digger" had reached the United Kingdom through a British remake of The Gold Diggers . While the film received negative critical reception, several sequels with the same title have been produced. In the 1930s, the gold digger trope was used in a number of popular American films, most notably Gold Diggers of 1933 , Gold Diggers of 1935 , Baby Face , Red-Headed Woman , Dinner at Eight , and Havana Widows . Film historian Roger Dooley notes that

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3360-493: The 1950s. The press and public described model/actress Anna Nicole Smith as a gold digger for marrying multi-millionaire octogenarian J. Howard Marshall II . There was even a book published as a Little Blue Book (Little Blue Book No. 1392, Confessions of a Gold Digger , by Betty Van Deventer, 1929). The recurring image of the gold digger in Western popular media throughout the 1920s and 1930s developed into an important symbol of

3465-510: The Brain! (2006), incorporating live Foley artists , narration and orchestra at select showings. Shadow of the Vampire (2000) is a highly fictionalized depiction of the filming of Friedrich Wilhelm Murnau 's classic silent vampire movie Nosferatu (1922). Werner Herzog honored the same film in his own version, Nosferatu: Phantom der Nacht (1979). Some films draw a direct contrast between

3570-642: The Devil (1927). Israel has worked mainly in silent comedy, scoring the films of Harold Lloyd , Buster Keaton , Charley Chase , and others. Timothy Brock has restored many of Charlie Chaplin 's scores, in addition to composing new scores. Contemporary music ensembles are helping to introduce classic silent films to a wider audience through a broad range of musical styles and approaches. Some performers create new compositions using traditional musical instruments, while others add electronic sounds, modern harmonies, rhythms, improvisation, and sound design elements to enhance

3675-679: The Lumière brothers on December 28, 1895, in Paris. This was furthered in 1896 by the first motion-picture exhibition in the United States at Koster and Bial's Music Hall in New York City. At this event, Edison set the precedent that all exhibitions should be accompanied by an orchestra. From the beginning, music was recognized as essential, contributing atmosphere, and giving the audience vital emotional cues. Musicians sometimes played on film sets during shooting for similar reasons. However, depending on

3780-483: The Merrill Mansion. Maggie, thinking he is joking, agrees. Meanwhile, her sister is arrested because of her association with her boyfriend and is taken to night court. Her family frets at not being able to find Maggie, who they believe needs to help Liz out of the mess. Maggie had tried to call them, but after a few rings (while her father made his way to the phone) she hung up. Arriving at the Merrill Mansion, Maggie

3885-536: The Moon , originally released in 1902, shows an exuberant use of color designed to add texture and interest to the image. Comments by an American distributor in a 1908 film-supply catalog further underscore France's continuing dominance in the field of hand-coloring films during the early silent era. The distributor offers for sale at varying prices "High-Class" motion pictures by Pathé , Urban-Eclipse , Gaumont , Kalem , Itala Film , Ambrosio Film , and Selig . Several of

3990-505: The Sahara desert and a British cricket pitch. War scenes were shot on the plains of Grasmere, Staten Island . The Perils of Pauline and its even more popular sequel The Exploits of Elaine were filmed largely on the island. So was the 1906 blockbuster Life of a Cowboy , by Edwin S. Porter Company , and filming moved to the West Coast around 1912. The following are American films from

4095-451: The United States. In view of the enormous amount of labor involved which calls for individual hand painting of every one of sixteen pictures to the foot or 16,000 separate pictures for each 1,000 feet of film very few American colorists will undertake the work at any price. As film coloring has progressed much more rapidly in France than in any other country, all of our coloring is done for us by

4200-547: The action—particularly for comedies and action films. Slow projection of a cellulose nitrate base film carried a risk of fire, as each frame was exposed for a longer time to the intense heat of the projection lamp; but there were other reasons to project a film at a greater pace. Often projectionists received general instructions from the distributors on the musical director's cue sheet as to how fast particular reels or scenes should be projected. In rare instances, usually for larger productions, cue sheets produced specifically for

4305-674: The actual song being performed. Films in this category include Griffith's Lady of the Pavements with Lupe Vélez , Edwin Carewe 's Evangeline with Dolores del Río , and Rupert Julian 's The Phantom of the Opera with Mary Philbin and Virginia Pearson . The Silent Film Sound and Music Archive digitizes music and cue sheets written for silent films and makes them available for use by performers, scholars, and enthusiasts. Silent-film actors emphasized body language and facial expression so that

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4410-412: The adoption of sound-on-film technology. Traditional film colorization, all of which involved the use of dyes in some form, interfered with the high resolution required for built-in recorded sound, and were therefore abandoned. The innovative three-strip technicolor process introduced in the mid-1930s was costly and fraught with limitations, and color would not have the same prevalence in film as it did in

4515-562: The beginning of film and 1928. The following list includes only films produced in the sound era with the specific artistic intention of being silent. Several filmmakers have paid homage to the comedies of the silent era, including Charlie Chaplin , with Modern Times (1936), Orson Welles with Too Much Johnson (1938), Jacques Tati with Les Vacances de Monsieur Hulot (1953), Pierre Etaix with The Suitor (1962), and Mel Brooks with Silent Movie (1976). Taiwanese director Hou Hsiao-hsien 's acclaimed drama Three Times (2005)

4620-458: The best coloring establishment in Paris and we have found that we obtain better quality, cheaper prices and quicker deliveries, even in coloring American made films, than if the work were done elsewhere. By the beginning of the 1910s, with the onset of feature-length films, tinting was used as another mood setter, just as commonplace as music. The director D. W. Griffith displayed a constant interest and concern about color, and used tinting as

4725-472: The biggest-budgeted films to arrive at the exhibiting theater with original, specially composed scores. However, the first designated full-blown scores had in fact been composed in 1908, by Camille Saint-Saëns for The Assassination of the Duke of Guise , and by Mikhail Ippolitov-Ivanov for Stenka Razin . When organists or pianists used sheet music, they still might add improvisational flourishes to heighten

4830-461: The case of the 2002 restoration of Metropolis . With the lack of natural color processing available, films of the silent era were frequently dipped in dyestuffs and dyed various shades and hues to signal a mood or represent a time of day. Hand tinting dates back to 1895 in the United States with Edison's release of selected hand-tinted prints of Butterfly Dance . Additionally, experiments in color film started as early as in 1909, although it took

4935-408: The courtroom. The next day, Maggie is back home, reading the paper which has headlines about their romance. Joe's father (Hobart Bosworth) arrives at the home. He tells Maggie he wants to send his son to Hawaii until the scandal blew over, which Joe agreed to. However, Joe apparently made plans to bring Maggie as well and marry on the boat. Mr. Merrill, not happy with this, tries to buy Maggie off with

5040-452: The crowd leaves, we see the couple kissing. The film was first released in 1927. It had a budget of $ 483,103 and grossed about $ 1,027,757 in the US alone on its first run. The film's copyright expired in 2023, and entered the public domain along with other works from 1927. A complete print of the film survives in mostly good condition. It was released on DVD by The Milestone Collection and The Mary Pickford Corporation in 1998. My Best Girl

5145-498: The crucial differences between stage and screen acting. Directors such as Albert Capellani and Maurice Tourneur began to insist on naturalism in their films. By the mid-1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors accepted naturalistic, low-key acting straight away; as late as 1927, films featuring expressionistic acting styles, such as Metropolis , were still being released. Greta Garbo , whose first American film

5250-459: The development of motion picture cameras, projectors and transparent celluloid film. Although Thomas Edison was keen to develop a film system that would be synchronised with his phonograph , he eventually introduced the kinetoscope as a silent motion picture viewer in 1893 and later "kinetophone" versions remained unsuccessful. The art of motion pictures grew into full maturity in the "silent era" ( 1894 in film – 1929 in film ). The height of

5355-401: The drama on screen. Even when special effects were not indicated in the score, if an organist was playing a theater organ capable of an unusual sound effect such as "galloping horses", it would be used during scenes of dramatic horseback chases. At the height of the silent era, movies were the single largest source of employment for instrumental musicians, at least in the United States. However,

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5460-490: The early 1920s. Some have argued that she was the real-life inspiration for Lorelei Lee, the protagonist in Anita Loos ’ 1925 novel Gentlemen Prefer Blondes which holds gold digging as a central theme. Additionally, some have contended that the term "gold digger" was coined to describe her. Former Olympian Eleanor Holm was dubbed the "swimming gold digger" for her divorce contest with Broadway impresario Billy Rose during

5565-555: The famous " Mighty Wurlitzer " could simulate some orchestral sounds along with a number of percussion effects such as bass drums and cymbals, and sound effects ranging from "train and boat whistles [to] car horns and bird whistles; ... some could even simulate pistol shots, ringing phones, the sound of surf, horses' hooves, smashing pottery, [and] thunder and rain". Musical scores for early silent films were either improvised or compiled of classical or theatrical repertory music. Once full features became commonplace, however, music

5670-407: The films. Pianists and organists would play either from sheet music , or improvisation . Sometimes a person would even narrate the inter-title cards for the audience. Though at the time the technology to synchronize sound with the film did not exist, music was seen as an essential part of the viewing experience. "Silent film" is typically used as a historical term to describe an era of cinema prior to

5775-475: The first film serial , The Million Dollar Mystery , released in 1914. The first westerns were filmed at Fred Scott 's Movie Ranch in South Beach, Staten Island. Actors costumed as cowboys and Native Americans galloped across Scott's movie ranch set, which had a frontier main street, a wide selection of stagecoaches and a 56-foot stockade. The island provided a serviceable stand-in for locations as varied as

5880-411: The first commercially successful sound film , but silent films were still the majority of features released in both 1927 and 1928, along with so-called goat-glanded films: silents with a subsection of sound film inserted. Thus the modern sound film era may be regarded as coming to dominance beginning in 1929. For a listing of notable silent era films, see List of years in film for the years between

5985-622: The formation of the Motion Picture Patents Company in an attempt to control the industry and shut out smaller producers. The "Edison Trust", as it was nicknamed, was made up of Edison , Biograph , Essanay Studios , Kalem Company , George Kleine Productions , Lubin Studios , Georges Méliès , Pathé , Selig Studios , and Vitagraph Studios , and dominated distribution through the General Film Company . This company dominated

6090-405: The gold digger is one of the most common of the “stock company of stereotypes that continually reappear in the films of the 1930s.” Gold diggers in 1930s cinema were often portrayed in positive, sometimes heroic, ways. The character has featured in many films since the 1930s such as Gentlemen Prefer Blondes (1953) and How to Marry a Millionaire (1953), both starring Marilyn Monroe , or as

6195-481: The image of frivolous lawsuits and unfair alimony payouts related to the gold digger archetype contributed to a nationwide push throughout the middle and late 1930s to outlaw heart balm legislation in the United States. The gold digger emerged as a dominant trope in American popular culture beginning in the 1920s. Stephen Sharot stated that the gold digger supplanted the popularity of the vamp in 1920s cinema. By

6300-459: The image to flicker , and images with low rates of flicker are very unpleasant to watch. Early studies by Thomas Edison for his Kinetoscope machine determined that any rate below 46 images per second "will strain the eye". and this holds true for projected images under normal cinema conditions also. The solution adopted for the Kinetoscope was to run the film at over 40 frames/sec, but this

6405-691: The industry as both a vertical and horizontal monopoly and is a contributing factor in studios' migration to the West Coast. The Motion Picture Patents Co. and the General Film Co. were found guilty of antitrust violation in October 1915, and were dissolved. The Thanhouser film studio was founded in New Rochelle, New York , in 1909 by American theatrical impresario Edwin Thanhouser . The company produced and released 1,086 films between 1910 and 1917, including

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6510-828: The industry's acceptance of it, tinting was abandoned altogether, because the dyes used in the tinting process interfered with the soundtracks present on film strips. The early studios were located in the New York City area . Edison Studios were first in West Orange, New Jersey (1892), they were moved to the Bronx, New York (1907). Fox (1909) and Biograph (1906) started in Manhattan , with studios in St George, Staten Island . Other films were shot in Fort Lee, New Jersey . In December 1908, Edison led

6615-532: The introduction of sound with its 24 frame/sec standard speed 2-bladed shutters have become the norm for 35 mm cinema projectors, though three-bladed shutters have remained standard on 16 mm and 8 mm projectors, which are frequently used to project amateur footage shot at 16 or 18 frames/sec. A 35 mm film frame rate of 24 fps translates to a film speed of 456 millimetres (18.0 in) per second. One 1,000-foot (300 m) reel requires 11 minutes and 7 seconds to be projected at 24 fps, while

6720-470: The introduction of talkies, coupled with the roughly simultaneous onset of the Great Depression , was devastating to many musicians. A number of countries devised other ways of bringing sound to silent films. The early cinema of Brazil , for example, featured fitas cantatas (singing films), filmed operettas with singers performing behind the screen. In Japan , films had not only live music but also

6825-421: The invention of synchronized sound, but it also applies to such sound-era films as City Lights , Modern Times and Silent Movie which are accompanied by a music-only soundtrack in place of dialogue. The term silent film is a retronym —a term created to retroactively distinguish something from later developments. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as

6930-559: The late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. Within a decade, the widespread production of silent films for popular entertainment had ceased, and the industry had moved fully into the sound era , in which movies were accompanied by synchronized sound recordings of spoken dialogue, music and sound effects . Most early motion pictures are considered lost owing to their physical decay, as

7035-426: The longer, more prestigious films in the catalog are offered in both standard black-and-white "plain stock" as well as in "hand-painted" color. A plain-stock copy, for example, of the 1907 release Ben Hur is offered for $ 120 ($ 4,069 USD today), while a colored version of the same 1000-foot, 15-minute film costs $ 270 ($ 9,156) including the extra $ 150 coloring charge, which amounted to 15 cents more per foot. Although

7140-401: The mid-1910s, as the differences between stage and screen became apparent. Due to the work of directors such as D. W. Griffith , cinematography became less stage-like, and the development of the close up allowed for understated and realistic acting. Lillian Gish has been called film's "first true actress" for her work in the period, as she pioneered new film performing techniques, recognizing

7245-442: The mutual surprise the two kiss. Enamored with each other they head out on the town to walk in the rain. Joe begins to spend money and she tells him he'll end up in the poorhouse. Joe offers to buy her dinner at a nice restaurant but, embarrassed by her shoddy work clothes, Maggie declines. Joe gets the idea to tell her they should follow the store's company motto, "We're all a family" and that, if they were family, they could eat at

7350-520: The new "talkies" around the mid-1930s. The visual quality of silent movies—especially those produced in the 1920s—was often high, but there remains a widely held misconception that these films were primitive, or are barely watchable by modern standards. This misconception comes from the general public's unfamiliarity with the medium, as well as from carelessness on the part of the industry. Most silent films are poorly preserved, leading to their deterioration, and well-preserved films are often played back at

7455-473: The play was about mining and the Gold Rush . There exist several cases where female public figures have been perceived as exemplars of the gold digger stereotype by the public. The best-known gold digger of the early 20th century was Peggy Hopkins Joyce . Joyce was a former show girl who married and divorced millionaires. She was characterized as a gold digger during her divorce battle with Stanley Joyce during

7560-450: The plots without specialised subtitling or additional commentary. Few film scores survived intact from the silent period, and musicologists are still confronted by questions when they attempt to precisely reconstruct those that remain. Scores used in current reissues or screenings of silent films may be complete reconstructions of compositions, newly composed for the occasion, assembled from already existing music libraries, or improvised on

7665-438: The projectionist provided a detailed guide to presenting the film. Theaters also—to maximize profit—sometimes varied projection speeds depending on the time of day or popularity of a film, or to fit a film into a prescribed time slot. All motion-picture film projectors require a moving shutter to block the light whilst the film is moving, otherwise the image is smeared in the direction of the movement. However this shutter causes

7770-424: The reasons for the cited extra charge were likely obvious to customers, the distributor explains why his catalog's colored films command such significantly higher prices and require more time for delivery. His explanation also provides insight into the general state of film-coloring services in the United States by 1908: The coloring of moving picture films is a line of work which cannot be satisfactorily performed in

7875-486: The release of D. W. Griffith 's epic The Birth of a Nation (1915). In 1999, the Finnish filmmaker Aki Kaurismäki produced Juha in black and white, which captures the style of a silent film, using intertitles in place of spoken dialogue. Special release prints with titles in several different languages were produced for international distribution. In India, the film Pushpak (1988), starring Kamal Haasan ,

7980-440: The silent era (from the early 1910s in film to the late 1920s) was a particularly fruitful period, full of artistic innovation. The film movements of Classical Hollywood as well as French Impressionism , German Expressionism , and Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that virtually every style and genre of film-making of the 20th and 21st centuries has its artistic roots in

8085-470: The silent era. The silent era was also a pioneering one from a technical point of view. Three-point lighting, the close-up , long shot , panning , and continuity editing all became prevalent long before silent films were replaced by " talking pictures " or "talkies" in the late 1920s. Some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors , actors, and production staff adapted fully to

8190-515: The silent film era and the era of talkies. Sunset Boulevard shows the disconnect between the two eras in the character of Norma Desmond , played by silent film star Gloria Swanson , and Singin' in the Rain deals with Hollywood artists adjusting to the talkies. Peter Bogdanovich 's 1976 film Nickelodeon deals with the turmoil of silent filmmaking in Hollywood during the early 1910s, leading up to

8295-479: The silent film era that had earned the highest gross income as of 1932. The amounts given are gross rentals (the distributor's share of the box-office) as opposed to exhibition gross. Although attempts to create sync-sound motion pictures go back to the Edison lab in 1896, only from the early 1920s were the basic technologies such as vacuum tube amplifiers and high-quality loudspeakers available. The next few years saw

8400-427: The silents for nearly four decades. As motion pictures gradually increased in running time, a replacement was needed for the in-house interpreter who would explain parts of the film to the audience. Because silent films had no synchronized sound for dialogue, onscreen inter-titles were used to narrate story points, present key dialogue and sometimes even comment on the action for the audience. The title writer became

8505-421: The silver screen. The animated film Fantasia (1940), which is eight different animation sequences set to music, can be considered a silent film, with only one short scene involving dialogue. The espionage film The Thief (1952) has music and sound effects, but no dialogue, as do Thierry Zéno 's 1974 Vase de Noces and Patrick Bokanowski 's 1982 The Angel . Gold digger The term "gold digger"

8610-438: The size of the exhibition site, musical accompaniment could drastically change in scale. Small-town and neighborhood movie theatres usually had a pianist . Beginning in the mid-1910s, large city theaters tended to have organists or ensembles of musicians. Massive theatre organs , which were designed to fill a gap between a simple piano soloist and a larger orchestra, had a wide range of special effects. Theatrical organs such as

8715-425: The son of the owner; making him Joseph Merrill. To prove to his father he is ready for his engagement, he has taken the job of stockboy under an assumed name. Annoyed, Maggie takes Joe back to the stockroom and tells him to get to work. He is so inept that she calls him, 'The Dumbest Stockboy in the World' though she promises to take him under her wing, much to his amusement. A few days later, after her shift, Maggie

8820-438: The spot in the manner of the silent-era theater musician. Interest in the scoring of silent films fell somewhat out of fashion during the 1960s and 1970s. There was a belief in many college film programs and repertory cinemas that audiences should experience silent film as a pure visual medium, undistracted by music. This belief may have been encouraged by the poor quality of the music tracks found on many silent film reprints of

8925-462: The standardization of the projection speed of 24 frames per second (fps) for sound films between 1926 and 1930, silent films were shot at variable speeds (or " frame rates ") anywhere from 12 to 40 fps, depending on the year and studio. "Standard silent film speed" is often said to be 16 fps as a result of the Lumière brothers' Cinématographe , but industry practice varied considerably; there

9030-452: The surprise engagement party, Joe's family sits concerned. They return home to find Joe and Maggie, who has hidden under the table. Joe admits he is 'Joseph Merrill' but before he can explain further his fiancée (Avonne Taylor) arrives and kisses him in front of Maggie. Maggie, heartbroken leaves. Joe, upset, tells his fiancée he had broken Maggie's heart and must go after her. Maggie walks and walks until she returns to where Joe and her shared

9135-484: The time. Since around 1980, there has been a revival of interest in presenting silent films with quality musical scores (either reworkings of period scores or cue sheets, or the composition of appropriate original scores). An early effort of this kind was Kevin Brownlow 's 1980 restoration of Abel Gance 's Napoléon (1927), featuring a score by Carl Davis . A slightly re-edited and sped-up version of Brownlow's restoration

9240-547: The title character's non-talkative nature to create a similar style of humor. A lesser-known example is Jérôme Savary 's La fille du garde-barrière (1975), an homage to silent-era films that uses intertitles and blends comedy, drama, and explicit sex scenes (which led to it being refused a cinema certificate by the British Board of Film Classification ). In 1990, Charles Lane directed and starred in Sidewalk Stories ,

9345-629: The traditional approach include organists such as Dennis James and pianists such as Neil Brand , Günter Buchwald, Philip C. Carli, Ben Model , and William P. Perry . Other contemporary pianists, such as Stephen Horne and Gabriel Thibaudeau, have often taken a more modern approach to scoring. Orchestral conductors such as Carl Davis and Robert Israel have written and compiled scores for numerous silent films; many of these have been featured in showings on Turner Classic Movies or have been released on DVD. Davis has composed new scores for classic silent dramas such as The Big Parade (1925) and Flesh and

9450-496: The truck down to give it to her. After three more times of this, he finally grows weary and jumps in the truck to join Maggie, who feigns innocence. The two flirt and Maggie shows him pictures of her off-kilter family. Once they reach her home, she invites him in for supper only to find her family is causing a commotion. Her father ( Lucien Littlefield ) is an elderly postal worker who is meek and easily subdued. Her mother (Sunshine Hart)

9555-469: The verge of fainting' mother, Joe walks over to Maggie and apologizes, saying he did not love his fiancée and would not marry her. He then proposes to Maggie which causes (for a change) her sister to faint. While everyone tries to revive Liz, Liz's boyfriend makes a remark to her father about Maggie 'taking up with the Merrill boy' implying that it was only for sex. Joe, offended, punches him and begins to fight in

9660-468: The viewing experience. Among the contemporary ensembles in this category are Un Drame Musical Instantané , Alloy Orchestra , Club Foot Orchestra , Silent Orchestra , Mont Alto Motion Picture Orchestra, Minima and the Caspervek Trio, RPM Orchestra . Donald Sosin and his wife Joanna Seaton specialize in adding vocals to silent films, particularly where there is onscreen singing that benefits from hearing

9765-409: The wrong speed or suffer from censorship cuts and missing frames and scenes, giving the appearance of poor editing. Many silent films exist only in second- or third-generation copies, often made from already damaged and neglected film stock. Many early screening were plagued by flicker on the screen, when the stroboscopic interruptions between frames lay below the critical flicker frequency . This

9870-680: Was a black comedy entirely devoid of dialog. The Australian film Doctor Plonk (2007), was a silent comedy directed by Rolf de Heer . Stage plays have drawn upon silent film styles and sources. Actor/writers Billy Van Zandt and Jane Milmore staged their Off-Broadway slapstick comedy Silent Laughter as a live action tribute to the silent screen era. Geoff Sobelle and Trey Lyford created and starred in All Wear Bowlers (2004), which started as an homage to Laurel and Hardy then evolved to incorporate life-sized silent film sequences of Sobelle and Lyford who jump back and forth between live action and

9975-415: Was compiled from photoplay music by the pianist, organist, orchestra conductor or the movie studio itself, which included a cue sheet with the film. These sheets were often lengthy, with detailed notes about effects and moods to watch for. Starting with the mostly original score composed by Joseph Carl Breil for D. W. Griffith 's epic The Birth of a Nation (1915), it became relatively common for

10080-478: Was controversial, the door had been opened for a new approach to the presentation of classic silent films. Today, a large number of soloists, music ensembles, and orchestras perform traditional and contemporary scores for silent films internationally. The legendary theater organist Gaylord Carter continued to perform and record his original silent film scores until shortly before his death in 2000; some of those scores are available on DVD reissues. Other purveyors of

10185-451: Was expensive for film. However, by using projectors with dual- and triple-blade shutters the flicker rate is multiplied two or three times higher than the number of film frames — each frame being flashed two or three times on screen. A three-blade shutter projecting a 16 fps film will slightly surpass Edison's figure, giving the audience 48 images per second. During the silent era projectors were commonly fitted with 3-bladed shutters. Since

10290-466: Was first shown as part of the 17th edition of the UCLA Film and Television Archive's biennial "Festival of Preservation" in 2015. Pickford biographer Jeffrey Vance , quoted in the UCLA Film and Television Archive's "Festival of Preservation" 2015 program notes, relates, “What makes My Best Girl special is that it captures the miracle of two people falling in love with each other as their characters do. It

10395-410: Was hampered by long exposure times for photographic emulsions , until Eadweard Muybridge managed to record a chronophotographic sequence in 1878. After others had animated his pictures in zoetropes , Muybridge started lecturing with his own zoopraxiscope animation projector in 1880. The work of other pioneering chronophotographers, including Étienne-Jules Marey and Ottomar Anschütz , furthered

10500-403: Was later distributed in the United States by Francis Ford Coppola , with a live orchestral score composed by his father Carmine Coppola . In 1984, an edited restoration of Metropolis (1927) was released with a new rock music score by producer-composer Giorgio Moroder . Although the contemporary score, which included pop songs by Freddie Mercury , Pat Benatar , and Jon Anderson of Yes ,

10605-514: Was no actual standard. William Kennedy Laury Dickson , an Edison employee, settled on the astonishingly fast 40 frames per second. Additionally, cameramen of the era insisted that their cranking technique was exactly 16 fps, but modern examination of the films shows this to be in error, and that they often cranked faster. Unless carefully shown at their intended speeds silent films can appear unnaturally fast or slow. However, some scenes were intentionally undercranked during shooting to accelerate

10710-669: Was released in 1926, would become known for her naturalistic acting. According to Anton Kaes, a silent film scholar from the University of California, Berkeley, American silent cinema began to see a shift in acting techniques between 1913 and 1921, influenced by techniques found in German silent film. This is mainly attributed to the influx of emigrants from the Weimar Republic , "including film directors, producers, cameramen, lighting and stage technicians, as well as actors and actresses". Until

10815-693: Was restored in 2015 by the UCLA Film and Television Archive based on the Archive's earlier restoration, which combines the best shots from two 35mm acetate fine grain master positives owned by the Mary Pickford Foundation and a 1940s-era 16mm print from the Mary Pickford Collection at the Library of Congress , and features remade titles to improve the overall appearance of the film. The new restoration

10920-575: Was solved with the introduction of a three-bladed shutter (since 1902), causing two more interruptions per frame. Another widely held misconception is that silent films lacked color. In fact, color was far more prevalent in silent films than in the first few decades of sound films. By the early 1920s, 80 percent of movies could be seen in some sort of color, usually in the form of film tinting or toning or even hand coloring, but also with fairly natural two-color processes such as Kinemacolor and Technicolor . Traditional colorization processes ceased with

11025-454: Was the cause of this outburst from director Marshall Neilan in 1917: "The sooner the stage people who have come into pictures get out, the better for the pictures." In other cases, directors such as John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen. Silent films became less vaudevillian in

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