Childhood friends are torn apart when one of them marries the woman the other once fiercely loved.

Flesh.and.the.Devil.1926.720p.WEB-DL.AAC2.0.H.264-SbR.mkv

General
Container:  	Matroska
Runtime: 	1h 52mn
Size: 	3.28 GiB
Video
Codec: 	h264
Resolution: 	982x720 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	
BPP: 	
Audio
#1:  	English 2.0ch AAC

https://nitro.download/view/EFD1794155A8F5A/Flesh.and.the.Devil.1926.720p.WEB-DL.AAC2.0.H.264-SbR.mkv

Language(s):Silent
Subtitles:None

The post Clarence Brown – Flesh and the Devil (1926) first appeared on Cinema of the World.

Synopsis:
Greta Garbo is the misunderstood heroine of this silent classic based on the controversial novel THE GREEN HAT by Michael Arlen. Diana Merrick is a free-spirited and wealthy socialite who loses Neville (John Gilbert), her one true love, because of the disapproval of his stubborn father (Hobart Bosworth). Heartbroken, Diana reluctantly weds David (John Mack Brown), a longtime admirer and best friend of her brother, Jeffry (Douglas Fairbanks Jr.).
However, Diana’s reputation and honor are questioned when her unhappy husband takes his own life. Although Diana honorably hides the shameful cause of her husband’s death, she is cast out of high-society London and deemed the unofficial cause of his suicide. Determined to live up to her unseemly reputation, Diana begins a series of meaningless affairs with men across the globe in an “orgy of amorous adventures.” After seven years of globetrotting with wealthy princes and foreign dandies, Diana returns to London and is reunited with Neville in a heartfelt and ultimately tragic reunion.
This silent masterpiece features an all-star cast, including Douglas Fairbanks Jr., who delivers a strong performance as Diana’s tormented and alcoholic brother. Greta Garbo is a luminous onscreen presence, a striking and statuesque figure.

1.56GB | 1h 30m | 676×472 | mkv

https://nitro.download/view/4CD6E04CE48442B/A.Woman.of.Affairs.1928.DVDRip.x264.mkv

Language:English
Subtitles:None

The post Clarence Brown – A Woman of Affairs (1928) first appeared on Cinema of the World.

Plot: MGM’s big showcase of musical talent is the main appeal of this film. It’s clunky, but it was filmed literally at the dawn of the sound age. So where else could you see Joan Crawford, Marion Davies, Marie Dressler, Laurel, & Hardy, Buster Keaton, John Gilbert, Norma Shearer, Cliff Edwards, Rose Tyler, Conrad Nagel, Charles King, Polly Moran, Bessie Love, William Haines, Anita Page, Gus Edwards and your master of ceremonies, Jack Benny.

1.37GB | 1h 57m | 640×480 | avi

https://nitro.download/view/4AE475A1F0F47CE/The_Hollywood_Revue_of_1929_(1929)_DVDRip_BBM.avi

Language:English
Subtitles:None

The post Charles Reisner – The Hollywood Revue of 1929 (1929) first appeared on Cinema of the World.

Quote:
A Superlative War Picture.
An eloquent pictorial epic of the World War was presented last night at the Astor Theatre before a sophisticated gathering that was intermittently stirred to laughter and tears. This powerful photodrama is entitled “The Big Parade,” having been converted to the screen from a story by Laurence Stallings, co-author of “What Price Glory,” and directed by King Vidor. It is a subject so compelling and realistic that one feels impelled to approach a review of it with all the respect it deserves, for as a motion picture it is something beyond the fondest dreams of most people. The thunderous belching of guns follows on the heels of a delightful romance between a Yankee doughboy and a fascinating French farm girl. There are humor, sadness and love, and the suspense is maintained so well that blasé men last night actually were hoping that a German machine gun would not “get” one of the three buddies in this story.

At the outset there is as much fun as there is in a book of Bairnsfather drawings, and yet there is no borrowing from that artist. It is the natural comedy that came to the American troops in France, men who landed in a foreign country without the slightest idea of the lingo. The incidents have been painted skilfully, from the blowing of the whistles as the signal that America had entered the war to the skirmishing attack in a forest. And even in a large shell hole the three pals find something to joke about.

There are incidents in this film which obviously came from experience, as they are totally different from the usual jumble of war scenes in films. It is because of the realism that the details ring true and it grips the spectator. At this presentation there were men who were not easily moved, men who had seen many pictures and were familiar with all the tricks in making them. Yet these men in the lobby during the intermission spoke with loud enthusiasm about this, a production of one of their rivals.

Just as the scenes are as perfect as human imagination and intelligence could produce them, so the acting is flawless throughout. Nothing could be more true to life than the actions and the expressions of the three buddies in khaki. They are just ordinary United States citizens, one the son of a millionaire, another a rivetter and the third a bartender. John Gilbert enacts the part of the hero. Jim Apperson, the scion of a wealthy family. Tom O’Brien figures as Bull, the jovial Irishman who served drinks across a bar, and Karl Dane is seen as Slim, the fearless rivetter. Renee Adoree impersonates Melisande, the bewitching French girl, who falls in love with Jim, her affection, being surely and certainly reciprocated by that young gentleman, in spite of the fact that he had left a sweetheart in America.

Possible the scenes where Jim enjoys his flirtation are more delightful than any other part of the story, because it seems so natural for the couple to be f???nd of each other. They sit together. Jim,??? proud of his dexterity with his chewing gum, while Melisande, being ignorant of this jaw-exercising concoction. In endeavoring to imitate Jim swallows her piece of gum. When Jim wants to tell Melisande of the trouble that affects his capacious heart, he has to resort to a dictionary, and often he inserts English words to emphasize his utterances, as the foreign tongue strikes him as being so inadequate.

Bull and Slim decide that Melisande is too serious minded, too much infatuated with Jim, so they dodge the idea of romance and become extraordinarily practical. While Jim is upsta???rs with the French family, pretending to listen to the letters that have come from poilus at the front. Slim and Bull are enjoying themselves in the wine cellar, expressing surprise that any man who has such a wonderful cellar should be content to spend any time elsewhere.

Then comes the time when the call of battle tears Jim away from Melisande. There is a big parade—a parade of lorries filled with American doughboys bound for the fighting lines. Melisande clings to the vehicle carrying her Jim, until she falls in the street, pressing a shoe, he has given to her, to her bosom.

Mr. Vidor is painstaking in putting forth the best work possible, with all the artistry of which the camera is capable, and it is a touch worthy of any artist where Melisande is seen crouched on the straight French road.

Guns, guns and guns roar during most of the second part of this picture, and yet these chapters are flavored with touches that create laughter, coupled as they are with clever captions. For instance: Word is sent to the three buddies while they are in a great shell-hole that one of them must go out and silence that “toy gun.” Who will go is the question. This is smartly settled by Slim, the champion tobacco chewer and spitter of his contingent. He draws a circle on the wall of the hole and says that the one who spits nearest the centre will have the chance to go and put an end to the men with the “toy gun.” Slim wins easily, as he knew he would, and he drags himself over the top and along the undulating ground, torn with high explosives.

The very lights rend the heavens and he has to duck to save himself from being spotted. Eventually he is seen with gun-butt uplifted and later he crawls out from the mess with two German helmets. The machine guns are popping at him, making noise like a giant tearing calico, and he is wounded. Jim and Bull have to stay where they are, as it is declared that orders are orders. Eventually the two pals so after their friend, and they find he has been “done in.”

Jim sees red as he plunges toward the enemy lines, and there follows a striking human incident. He would kill one of the enemy, who is half gone. He is rough with him, but the German asks for a cigarette. Jim has one, only one, in his tin hat. He gives it to the German, who before he has a chance to take a puff breathes his last. Jim looks at the man, and, with that indifference that is bred by war, he takes the cigarette from the man’s lips and smokes it himself.

There is the big parade of hospital ???, the long stretches of cots in a church, the unending line of lorries, and all that breathes of the war as it was. The battle scenes excel anything that has been pictured on the screen, and Mr. Vidor and his assistants have ever seen fit to have the atmospheric effects as true as possible.

This is a pictorial effort of which the screen can well boast. It carries one from America to France, then back to America and finally to France again. And one feels as if a lot had happened in a single evening.
Morduant Hall, NY Times, November 20, 1925

1.99GB | 2h 31mn | 720×540 | mkv

https://nitro.download/view/CDF25045DB9C6DF/The_Big_Parade.part1.rar
https://nitro.download/view/339840AB278DAC2/The_Big_Parade.part2.rar
https://nitro.download/view/1FEFF4A39821DDA/The_Big_Parade.part3.rar

Language(s):Silent dual audio with commentary
Subtitles:French muxed sub/idx

The post King Vidor & George W. Hill – The Big Parade [+Extras] (1925) first appeared on Cinema of the World.

Synopsis:
Pre-code melodrama starring John Gilbert as Jack Thomas, rich, penthouse-dwelling playboy with a brand new fiancee named Marjorie (Leila Hyams) and his own English “gentleman’s gentleman” (just given orders to burn his gallery of photos and phone numbers). Called to meet his guardian “Papa Mario”, Jack is informed he has a brother named Frank and a father who has been shot and is calling for his long-lost son from his deathbed. This is all news to Jack who didn’t know about this family at all (he thought he was an orphan). Arriving at the rundown Hotel Ritzi, Jack finds out the whole truth – that his father and brother are bootleggers/gangsters, that he is actually an Italian, and his real name’s not Jack, it’s Giacomo! Okey dokey. Frank (Louis Wolheim) is a (very) rough-faced, tough talker who forces Jack to take the rap for some stolen emeralds given to Jack by the dying dad. Unfortunately Jack had already gifted the emeralds to Marjorie, who finding out he’s a “thief”, writes him a “Dear John” letter and leaves town. So – Jack decides to join the racket with his brother, then ends up saving his brother’s life from a rival gang. Now the rivals are out to get the man who shot one of their own, and it all comes to brew at a “Peace Banquet” at the hotel.”

1.40GB | 1h 33mn | 720×540 | mkv

https://nitro.download/view/59E45ED897CCBE8/Gentleman’s_Fate_(1931)_–_Mervyn_LeRoy.mkv

Language:English
Subtitles:Russian (muxed)

The post Mervyn LeRoy – Gentleman’s Fate (1931) first appeared on Cinema of the World.

Quote:
Greta Garbo Appears as Queen Christina of Sweden in Her First Film in More Than Eighteen Months.
Soon after entering the Astor Theatre last night for the presentation of Greta Garbo’s first picture in eighteen months, the spectators were transported by the evanescent shadows from the snow of New York in 1933 to the snows of Sweden in 1650. The current offering, known as “Queen Christina,” is a skillful blend of history and fiction in which the Nordic star, looking as alluring as ever, gives a performance which merits nothing but the highest praise. She appears every inch a queen.

S. N. Behrman, the playwright, is responsible for the dialogue, which is a bright and smooth piece of writing, and Rouben Mamoulian did the direction. Mr. Mamoulian still has a penchant for asking the audience to fasten their gaze on his work with lights and shades rather than continuing the story, but here he does it less frequently than hitherto, and his scenes are, without a doubt, entrancing compositions.

It is an easy flowing romance in which there are several pleasingly humorous situations. As Queen Christina, Miss Garbo reveals her sense of humor and she handles some of the reticent levity in a superb fashion. She is forceful as Her Majesty and charming as Christina the woman. She is effectively supported in the romance by John Gilbert, who acts Don Antonio, an emissary from the King of Spain.

When Christina was born one is informed that her father Gustavus Adolphus regretted that she was not a boy. He persuaded her as a child to wear knickerbockers and it can be assumed that Oxenstierna, Chancellor of Sweden, insisted that she continue dressing as a boy after she was crowned Queen. This penchant for male attire is the result of a beguiling incident and the producers take the opportunity of giving Christina an elderly valet instead of a maid.

Christina has a dominant personality and in the film she is beloved of her people. She goes dashing on horseback over the snow-covered countryside escorted only by her valet Aage, who is played by C. Aubrey Smith. They do not spare their horses in riding and it chances that some miles distant from town they come across a coach, the front wheels of which are caught in the deep snow. Christina tells the driver how to get the vehicle freed and one of the passengers is so relieved at being able to continue his journey that he presents to the Queen a silver piece, one adorned by her own profile. This passenger, who is none other than Don Antonio, thinks the Queen is quite an intelligent young man.

It is in a lovely wayside inn a few hours later that Don Antonio next sets eyes on the “intelligent young man,” who, to digress for an instant, insists to one member of her court that she will not die an old maid, but “a bachelor.” Christina has reserved for herself the last room at the inn. By this time Don Antonio appreciates that the “intelligent young man” is evidently well born and wealthy. They chat together and become unusually interested in each other. Eventually, Don Antonio suggests that they share the room and — after some hesitation — Christina agrees.

In course of time Don Antonio realizes that his companion is a woman. It is a case of love and they spend the night together. Subsequently it is an abashed and bewildered Spaniard who presents his credentials to the Queen and discovers in the gorgeously clad creature on the throne his companion of the wayside inn. The fact that he comes to the Swedish ruler with a proposal of marriage from the King of Spain adds considerably to the emissary’s confusion.

How the film ends is best left untold here. And if history has been gilded it is accomplished neatly and intelligently. Mr. Mamoulian’s glimpses and vistas of the Queen’s palace are extraordinarily striking and as a contrast to them there is the rugged simplicity of the tap room in the inn.

The conflict of the narrative is simple but effective. Besides the fascinating Swedish performer, there are several players who contribute good work. Mr. Gilbert is far more restrained than he was in his silent films. Ian Keith is splendid as the artful Magnus. Lewis Stone is admirable as sensible old Oxenstierna. C. Aubrey Smith is splendid as Aage. The other performers also acquit themselves favorably.
Mordaunt Hall New York Times, December 27, 1933

https://nitro.download/view/11DE039E1C642EB/Queen_Christina.avi
http://nitroflare.com/view/F4A1CCE11D6EB92/Queen_Christina.cc.srt
http://nitroflare.com/view/2A54F1C38EA43C8/Queen_Christina.idx
http://nitroflare.com/view/3E63D1015CBB2E0/Queen_Christina.sub

Language(s):English, Spanish
Subtitles:English + Spanish + French sub/idx & English CC SRT

The post Rouben Mamoulian – Queen Christina (1933) first appeared on Cinema of the World.