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This DVD double feature of Clara Bow at the beginning and during the thick of her career gives us a inviting study of one of the most accepted restful stars. DOWN TO THE SEA IN SHIPS (1922) was shot when Clara was only 16 by D.W. Griffith protege’ Elmer Clifton. Her fragment is only a supporting one but you can clearly ogle the star potential there. The main focus of this film is not the romance between the two leads but rather the detailed scenes of Novel Bedford whalers plying their trade. This makes the film a involving historical document which is not for the squeamish as it contains loyal and graphic footage of the killing and dismembering of whales. What you look is MOBY DICK for steady. This print taken from the Killiam Collection is in great shape although it seems a limited posthaste at times. It is mighty better than the obsolete VHS version assign out by Critic”s Choice some years help.
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PARISIAN Care For (1925) was made only 3 years later but what a incompatibility in Clara’s appearance. Here she is the star and fully displays the vivacious charm and charisma that made her so accepted. The yarn of French Apache lovers and their benefactor is a petite hard to follow probably due to some missing footage and features some rather attractive interplay between the male leads. The sets of Parisian garrets are respectable and Lillian Leighton steals the explain as a Marie Dressler like matriarch at a swanky party. This DVD copy was taken from the only surviving print which was discovered in 1998 and restored by the UCLA Film and Televison Archive. All in all an captivating combination of 1920’s style romance with rugged documentary style footage and the chance to search for Clara Bow execute from a Mary Pickford like tomboy into a stout fledged star. Yet another glowing job from Kino International in their ongoing series of mute film presentations on DVD.
Viewers who gaze out this Clara Bow double feature will likely compare it to IT, the 1927 charmer to which all of her films are compared sooner or later, the film that finally captured the most naturally exuberant (and unnaturally wounded) personality in quiet film. Bow had made more than 30 films in the five years preceding IT, only a handful of which survive in any condition. Even her minor films, therefore, are impossible to ignore. DOWN TO THE SEA IN SHIPS shows us Bow in 1922, barely 17 years customary and modern as rain. In her slight role as a long-haired tomboy, she neither poses nor emotes; she is simply herself at 17. The fraction offers few hints of the delectable flapper whose unembarrassed sensuality would one day startle even Elinor Glyn and deluge Paramount with nearly fifty thousand fan letters a month. PARISIAN Adore, released three years after DOWN TO THE SEA, teases us with glimpses of the It Girl-to-be. But they are captivating glimpses: the long tresses are gone, replaced by a pushed-up, snip-sprung, crazy-tilt hairdo that eases our entry into the softest, most shocked eyes that ever looked out of a movie shroud. The amusing site is forgettable; Bow is not. PARISIAN Cherish should encourage as the springboard to a great better Bow film from 1925, THE PLASTIC AGE (available from Image in a twofer with THE Reveal OFF) . One day, perhaps, the incomparable WINGS (1927) will win a domestic release. Isn’t it unfamiliar that the first movie to gain the Academy Award for Best Record is not available on a commercial U.S. Plot 1 DVD?
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