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  1. ISBN 13: 9781478367505
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Mary Pickford Rare 1920s Color Screen Test

This very select group transcended the demands of two very different mediums in the s and s. This book provides incisive profiles of Clara Bow, Edward G. Robinson, Jean Harlow, W. A final chapter reviews the seeming incongruity of silent screen stars on radio. Visit this book's official website at www. Convert currency. Add to Basket. Compare all 7 new copies.

Book Description Condition: New. Seller Inventory n. More information about this seller Contact this seller. Condition: New. Many stars of the silent era with heavy accents and disagreeable voices saw their careers shattered e. Other silent stars, such as Mary Pickford, failed to make the transition to talkies and retired in the 30s.

Many new film stars and directors that had to be imported from Broadway, would become familiar Hollywood names in the s. Another technological advance, in addition to sound, was the use of color. Another process called Kinemacolor used a movie camera and projector that both exposed and projected black and white film through alternating red and green filters. The company's first color process was a two color red and green additive system that used two color negatives pasted or printed together.

The first two-color Technicolor production was The Gulf Between , and the first commercial, two-color Technicolor feature film made was the six-reel The Toll of the Sea , also noted as the first to use a subtractive two-color process. The first feature-length blockbuster color picture using this same innovative process was The Black Pirate with Douglas Fairbanks, Sr.

ISBN 13: 9781478367505

By , what began as a two-color system in the mid- and late s and s evolved into a much richer and vibrant three-color process by Technicolor. The first three-strip, regular exposure Technicolor film was RKO's and Rouben Mamoulian's Becky Sharp - the first feature-length, three-strip Technicolor production. Other film studios rushed into production their own musicals to compete for box-office returns. The first all-color sound musical production in two-strip Technicolor was Warners' and director Alan Crosland's backstage musical On With the Show!

It was a remake of the silent, non-musical comedy film about chorus girls, The Gold Diggers - and it was followed by Mervyn LeRoy's musical remake The Gold Diggers of The first major, feature-length Hollywood sound film with an all-black cast was King Vidor's first talkie - MGM's Hallelujah , but it was initially shot as a silent. It was the first film with a dubbed, asynchronous soundtrack added later in the studio - a technological, post-production advancement.

In , the first film-related hit record was Al Jolson's Sonny Boy , sung three times in Jolson's second feature film, the part-talkie, part-silent high-grossing tearjerker The Singing Fool The first all-talking or all-dialogue picture was a gangster film - Warners' experimental entry with sound and dialogue was director Brian Foy's crude Lights of New York Nonetheless, it had 24 transitional titles.

Cary watched herself caper about some 90 years earlier, sporting a stick-on moustache and a monocle, and was reminded what a pain it was getting that monocle to stay in. She can remember that? It was there , in front of me, and I observed it very seriously. It was something about my nature, and it was why I came to like writing, I think.

That seeing-at-a-distance. As a young girl, she sat in press conferences while her father boasted about her enormous IQ.

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How else would she know how to man a lighthouse? Apparently, only the child herself recognised it all as bluster, puff, magic-of-the-movies stuff. I had to invent the wheel over and over again. For life. Diana Serra Cary was the identity she slowly created for herself.

Old Hollywood in Color 3: When Silent Stars Spoke

And while running a bookshop in Santa Barbara, she met Bob Cary, an artist. They married in and had a son, Mark. They were living in Mexico when Cary started trying to write.

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She published her first book in , about early cowboy films. Only one of the former stars she spoke to went on to university.


The pitfalls are great. But nothing about the effects of being in them. How hard you worked at an age when my own children had nothing more to think about than potty training. Her father did make one comment.

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It was at a screening Cary had organised, shortly before his death, to show him one of the Baby Peggy silents that were then coming back into fashion. When it finished, Jack had tears in his eyes. These were not household names, not even in their day, and most had spent the vast majority of their lives away from Hollywood. All reported total bafflement when aficionados started to get in touch with them. Now 89, she lives on a remote ranch in Utah. The day before we spoke, a silent-film enthusiast had made the long trip out to visit her.

Many decades later, she was a dance teacher living in obscurity when she was contacted by two British film historians, Austin and Howard Mutti-Mewse , who were beginning to work on a book about old Hollywood, I Used To Be In Pictures. I spoke to Ahern by phone. At 94, she sounded cheerful and energetic, but was obviously ailing. Spinal stenosis. I have a muscle disease that affected my left eye — it just dropped out one day while I was driving. I have to walk using a walker, which is humiliating for me, having once been a dancer.

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Say, whatever happened to her? She wrote it shortly before moving to Gustine, to be near her son. Her husband died in , and Mark has cared for his mother ever since. Cary has been in hospital twice since Christmas, with pneumonia. New editions of her non-fiction books are due out soon.