skip navigation
Remind Me

Volume Three includes "Rip Van Winkle" and more
* Program begins at 10 pm ET on 11/21

* Please note that the following descriptions by Scott Simmon are an abridged version of the much more comprehensive program notes available in the book that accompanies the 3-disc set, More Treasures from American Film Archives
Click here to order More Treasures from American Film Archives.

Rip Van Winkle (1896)

Rip Van Winkle allows us an unparalleled glimpse back into nineteenth-century celebrity and theatrical styles. For 1896, it is an epic: eight linked short films of stage star Joseph Jefferson (1829-1905) in the role that made his fame. By the time of filming, he was in the thirty-first of thirty-nine years of touring in the title part and was the most commercially successful actor in the world. To make Rip Van Winkle, Dickson and his assistant Billy Bitzer hauled the three-hundred pound mutoscope camera up the coast to Joseph Jefferson's summer home in Buzzards Bay, Massachusetts, an excursion justified too by Jefferson being an investor in the new company. The story of Rip Van Winkle—who sleeps through the American Revolution—originates in Washington Irving's 1819 tale, but it was the stage version that everyone had come to know. After writing an adaptation himself in 1859, Jefferson collaborated with Dion Boucicault, the prolific Irish American playwright, on a five-act 1865 expansion. The play makes Rip "delightful and disreputable" (as one review put it), a lovable rascal prone when drunk to fight with his wife and fall victim to money-losing schemes. In the nineteenth century, when acting itself was a dubious profession, the play was criticized for its tolerance of "drunkenness, moral degradation, and heartlessness," while "virtue and wifely devotion are held up in this play to contempt" (as The New York Times reported in 1878). The films pick moments from the play suitable for presentation without dialogue.

Production Company: American Mutoscope Co.
Director: W.K.L. Dickson
Photographer: G.W. Bitzer
Cast: Joseph Jefferson
Transfer Note: Copied at 16 frames per second from eight 35mm prints preserved by the Library of Congress
Running Time: 4 minutes total

New Music: Charles Shadle (composition and harpsichord) and Martin Marks (piano)

Mr. Edison at Work in His Chemical Laboratory (1897)
In this staged promotional piece disguised as a documentary, Thomas Alva Edison, just turned fifty, bustles around a laboratory. "The Wizard," as he was dubbed in the press, was renowned as America's greatest, most prolific inventor. At the time that this kinetoscope short was photographed in May 1897, even the inventor of the lightbulb still had no lighting sufficient for indoor cinematography. The "chemical laboratory" set was thus built in the sunlight of the same open-roofed, rotating studio that had been used for the Kinetophone experiment and the "Buffalo Bill's Wild West" acts seen on program 1. Publicity for this film claimed, "The scene is an actual one, showing Mr. Edison, in working dress, engaged in an interesting chemical experiment in his great laboratory." Edison's actual workspace was nearby on the same West Orange, New Jersey, grounds, but it's worth remembering that by this year he was an industrialist supervising four hundred employees. By all accounts, he gave tireless oversight, still putting in eighteen-hour days broken only by his famous catnaps in odd crawl spaces. But on film his image is of the individual genius, distractedly intent on yet another heroic discovery near at hand among his Bunsen burners and chemical vials.

Production Company: Edison Mfg. Co.
Director: James White
Photographer: William Heise
Cast: Thomas Edison
Transfer Note: Copied at 18 frames per second from a 35mm print preserved by the Academy of Motion Picture Arts and Sciences
Running Time: 30 seconds

New Music: Martin Marks (piano)

Life of an American Fireman (1903)

Life of an American Fireman was long celebrated as the first film to tell a multi-shot story, the film for which Edwin S. Porter "discovered the principle of editing" and in which "a close-up is used for the first time" (as Lewis Jacobs put it in his 1939 The Rise of the American Film). Even if such "discoveries" and "firsts" are insupportable now, the film remains innovative and revealing. When it was photographed (primarily in November 1902) and released (in January 1903), it was among the earliest attempts to construct a motion picture out of disparate kinds of shots: outdoor action footage, studio staged scenes, close ups, panoramas, and special effects double exposures. Back when the film was made, Porter was working in a familiar and popular genre. Every production company had its fire films—usually simple shots of burning buildings or racing wagons, although some, such as Selig's (now lost) Life of a Fireman (1900), were extensive. A fire brigade's heroic rescue of women and children was the stuff of songs, stage plays, and magic lantern slides. Porter didn't have to invent a story but rather to present it with intensity and spectacle.

Production Company: Edison Mfg. Co.
Producer/Director/Photographer: Edwin S. Porter
Assistant Director/Cast Member: James White (the fire chief)
Transfer Note: Copied at 18 frames per second from a 35mm print preserved by the Museum of Modern Art
Running Time: 6 minutes

New Music: Martin Marks (piano) and William Cutter (tenor)

Three films from the Westinghouse Works series (1904)

These three single-shot industrial films were photographed at the East Pittsburgh, Pennsylvania, plant of the Westinghouse Electric and Manufacturing Company just over a century ago, in April and May 1904. The full Westinghouse Works series ran to at least twenty-nine films and documented several plants in the conglomerate controlled by inventor and industrialist George Westinghouse (1846-1914). Made originally to promote the corporation's size and modernity, the films survive now as a remarkable record of an early industrial workplace. Especially in the vertiginous first crane shot, it's hard to say if the moviemaking or the manufacturing is more breathtaking.

Production Company: American Mutoscope and Biograph Co.
Photographer: G.W. Bitzer
Transfer Note: Copied at 16 frames per second from 35mm prints preserved by the Museum of Modern Art
Running Time: 6 minutes total

New Music: Martin Marks (piano)

Falling Leaves (1912)

At the time that Alice Guy Blache directed this one-reel family drama in early 1912, the New York studio that she ran and co owned was flourishing. Born Alice Guy in Paris in 1873, she had directed the first of her nearly one thousand films in 1896 for Leon Gaumont "on the express condition that it would not interfere with my secretarial duties." She was, however, soon made head of Gaumont's production and would direct most of the company's films for the next decade. She immigrated to the United States with her British husband Herbert Blache, and after the birth of their daughter and generally failed attempts to interest Americans in sound films, in 1910 founded the Solax Company, whose logo was the rising sun. Falling Leaves is one of 120 films she produced in 1912 at Solax, apparently little slowed by expanding to a new studio in New Jersey late in the year. She supervised three other directors and personally directed much of the company's work, including this film, which features members of what was becoming a Solax acting company. The simple tale —which appears to be loosely inspired by O. Henry's 1907 short story "The Last Leaf"—centers on a girl, Winifred (Marion Swayne), struck down by "consumption," as tuberculosis was familiarly called, because of the wasting weight loss that followed persistent coughing. Thought of as a disease of the urban poor, here it hits a well-off family. The film's story is viewed mainly from the perspective of the younger sister, "Little Trixie," played by Magda Foy, known as "the Solax Kid."

Production Company: Solax Co.
Producer/Director: Alice Guy Blache
Art Director: Henri Menessier
Cast: Mace Greenleaf (Dr. Earl Headley), Magda Foy (Trixie), Marion Swayne (Winifred), Blanche Cornwall (their mother), Darwin Karr (their father)
Transfer Note: Copied at 18 frames per second from a 35mm print preserved by the Library of Congress (Public Archives of Canada/Jerome House Collection)
Running Time: 12 minutes

New Music: Martin Marks (piano)

Hollywood Promotional Films

The first reel, never intended for the public, was put together in 1918 to convince theater owners to book a fifteen-episode serial titled Hands Up. Ruth Roland—"Amazon of a hundred perils," as she's called here—had starred in hundreds of adventure shorts, including episodes of the Kalem company's Girl Detective, and in the fascinatingly downbeat Who Pays? series (1915). Longer than any other serial queen, Roland would maintain into the 1920s the active heroics that were increasingly being usurped by men. Here she is repeatedly rescued by the cowboy known as "Hands Up" but still pushes him to the back of his horse after he saves her from torture in the Throne Room of the Incas. Because none of the thirty-one reels of Hands Up is known to survive, this sales reel is what all that we have left.

The second piece here is a tantalizing glimpse of a legendary moment in location filmmaking. The single most arduous and troubled Hollywood production of the silent era was surely Erich von Stroheim's Greed, planned as a Goldwyn picture and finally released in its infamously shortened version by the newly conglomerated Metro-Goldwyn-Mayer in December 1924. Near the end of nine months of shooting in 1923, Stroheim chose midsummer for five weeks in the blinding heat of Death Valley (where Frank Norris's source novel McTeague had set its fatal conclusion), as is all too briefly documented in this segment from a forgotten entity called C-V News. To judge from its few surviving pieces, C-V News was a short-lived Southern California newsreel and an offshoot of the Vanderbilt tabloid newspaper chain.

The third short film here was part of a more ballyhooed fan magazine cross-promotion: The Movie Lovers' Contest was run in 1926 by Photoplay magazine in conjunction with local papers. This surviving print, from the New York City contest, ties in with the New York Daily Mirror, which detailed the rules and ran accompanying cartoon clues. Identifications of both stars and films would have been relatively easy for regular moviegoers, but to win they needed to catch the contest shorts at the theater every day for forty days straight, with ties broken by thumbnail film criticism of "three to five of those particular pictures." The advertised $10,000 was split among the New York winners at about a hundred theaters, which thus offered about $100 each. The reel seen here is the fourth of the forty "photoplaylets," which had rhyming couplet clues by Robert E. Sherwood (a movie critic before his turn to playwriting).

Exhibitors' reel for Hands Up: A Cyclonic Western Serial (1918)
Production Company: Astra Film Corp. (Pathé Exchange, distributor)
Director: James W. Horne
Photographers: William Adler and George Bizard
Cast: Ruth Roland (Echo Delane), George Chesebro ("Hands Up"), Easter Walters (Judith Strange)
Transfer Note: Copied at 19 and 23 frames per second from a 35mm print preserved by the UCLA Film and Television Archive
Running Time: 7 minutes

New Music: Martin Marks (piano)

From C-V News [Filming Greed in Death Valley] (1923)
Production Company: Vanderbilt Newspapers, Inc.
Transfer Note: Copied at 16 frames per second from a 35mm positive preprint preserved by the UCLA Film and Television Archive
Running Time: 4 minutes

New Music: Martin Marks (piano) and Dawn Perlner (violin)

Movie Lovers' Contest #4 (1926)
Production Company: Photoplay, Inc.
Writer: Robert E. Sherwood
Transfer Note: Copied at 21 frames per second from a 35mm negative preserved by the UCLA Film and Television Archive, with video tinting reproducing the original print colors
Running Time: 3 minutes

New Music: Martin Marks (piano)

De Forest Phonofilms

The "talkies" are typically thought of as beginning with The Jazz Singer, but that 1927 feature was really more a breakthrough in popularity and length. Of the many efforts to introduce sound film in the preceding years, by far the most determined came from Lee de Forest. He had invented the three-electrode "Audion" vacuum tube, key to amplifying radio signals. The irrepressible Eddie Cantor was perhaps the most popular star to have been "Phonofilmed." A Few Moments with Eddie Cantor, photographed in de Forest's Manhattan studio in 1923 or early 1924, was his first appearance on film. The initial title card—which may have been added well after the film was shot—identifies Cantor as the star of his first Broadway "book" musical comedy, Ziegfeld's Kid Boots, in which he performed close to five hundred times between its opening on New Year's Eve 1923 and closing in February 1925. Cantor is credited with the lyrics for the first song in the film, "The Dumber They Come, the Better I Like 'Em," which he sang in Kid Boots. Although star performers often took "cut-in" credits for songs they merely performed, his personality seems convincing stamped on the gleefully offensive number. Kid Boots would also be adapted by Paramount for his silent feature film debut in 1926.

By a chance of history, "Silent Cal" - as Calvin Coolidge was known because of his terse and somber style—was the first president to speak on film. President Coolidge, Taken on the White House Grounds was the first sound film made there, using a battery-powered camera and amplifier, and it was among the earliest such films shot anywhere outdoors. It has been called the first sound newsreel but is perhaps more accurately the first sound campaign film, photographed on August 11, 1924, before the November election that the president won with the slogan "Keep Cool with Coolidge."

A Few Moments with Eddie Cantor (ca. 1923)
Production Company: De Forest Phonofilms, Inc.
Producer: Lee de Forest
Photographer: Harold Owens?
Transfer Note: Copied at 24 frames per second from a 35mm sound print preserved by the Library of Congress (AFI/Maurice Zouary Collection)
Running Time: 7 minutes

President Coolidge, Taken on the White House Ground (1924)
Production Company: De Forest Phonofilms, Inc.
Producer/Director: Lee de Forest
Transfer Note: Copied at 24 frames per second from a 35mm sound print preserved by the Library of Congress (AFI/Maurice Zouary Collection)
Running Time: 4 minutes

Inklings, Issue 12 (1925)

The pun in the title Inklings—suggesting both simple drawings and emerging ideas—matches the witty optical illusions in the films themselves. The director and lead animator of the series, Dave Fleischer, had a contentious relationship with his older brother Max, who received more credit and on-screen publicity for their Out of the Inkwell films. Inklings was an effort by Dave to go it alone. The series' modest brilliance has been completely forgotten in animation histories. To judge from the three known surviving issues (all preserved by the Museum of Modern Art), each brief film broke down into briefer segments, united only by a disembodied artist's hand toying with various media and by a feeling for the world as elusive and slippery.

Production Company: Inkwell Studios/Red Seal Pictures Corp.
Director/Animator: Dave Fleischer
Transfer Note: Copied at 24 frames per second from a 35mm print preserved by the Museum of Modern Art
Running Time: 6 minutes

New Music: Fred Steiner (composer), Frederick Harris Jr. (conductor), Dawn Perlner (violin), Elizabeth Connors (clarinet), Jimmy Leach (trumpet), Reid Jorgensen (percussion), and Kyle Hoepner (piano).

Lady Windermere's Fan (1925)

It is difficult to imagine many greater challenges to silent film than an adaptation of Oscar Wilde's first comic play, Lady Windermere's Fan, which floats an artificial high-society melodrama on a stream of verbal witticisms. At first glance, it's an impossible project—which may have been one of its appeals for Ernst Lubitsch. In adapting Lady Windermere's Fan, he made a few expected revisions, eliminating minor characters, updating the setting to the 1920s, and opening up the film to scenes only alluded to onstage. The film was not exactly a star vehicle—Lubitsch was the star—but the leads were well-known. Top-billed Ronald Colman, the only genuine Briton among them, was near the start of his fame in both silent and sound film. Twenty-four-year-old May McAvoy, then known for her ingenues, she was just four feet eleven - carries that innocence into her portrayal of Lady Windermere. It's a story about deceptions and misapprehensions among characters who fail to see the whole picture - to which only we are privy. In that sense the silent film, in Lubitsch's hands, was ideally suited to the story, which he emphasizes is also about people watching and being watched—through windows, binoculars, lorgnettes, monocles, and keyholes. The obsessive observation is mostly social—involving class jealousies and catty curiosity—but erotic voyeurism is there too. Lubitsch could thus extend point-of-view shots, reactions, and cutting-on-glances to a complexity that no film had previously approached. By all accounts, he planned every camera setup, acted out gestures for his players, and was "personally cutting the film" - unusual enough in the studio system for it to be so reported in Moving Picture World. Lubitsch came to the unlikely Warner Bros. studio mainly because his extraordinary contract gave him full authority and final cut, including the right to close the set even to the Warner brothers themselves. His start-to-finish perfectionism would not be rivaled until Hitchcock, who was also drawn to stories about voyeurism and sexual control.

Production Company: Warner Bros.
Producer/Director/Editor: Ernst Lubitsch
Writer: Julien Josephson, from the play by Oscar Wilde
Photographer: Charles Van Enger
Art Director: Harold Grieve [and Edgar Ulmer, uncredited]
Cast: Ronald Colman (Lord Darlington), Irene Rich (Mrs. Erlynne), May McAvoy (Lady Windermere), Bert Lytell (Lord Windermere), Edward Martindel (Lord Augustus Lorton)
Transfer Note: Copied at 22 frames per second from a 35mm print preserved by the Museum of Modern Art; 8 reels
Running Time: 89 minutes

New Music: Martin Marks (piano)

Cockeyed: Gems from the Memory of a Nutty Cameraman (ca. 1925)

Cockeyed, which manipulates city scenes of New York into visual fantasies, is a segment from Pathe Review, a one-reel U.S. weekly begun in 1920 and promoted as "the Magazine of the Screen." In 1925, the approximate year of this segment, Pathe Review followed ethnographic expeditions to North Africa and Mongolia and presented views of such places as French ostrich farms and Hawaiian pineapple fields. Its photographic novelties included time-lapse shots of Yosemite wildflowers and films taken through microscopes for segments called "The Magic Eye." Subtitled "Gems from the Memory of a Nutty Cameraman", Cockeyed appears to have gotten many of its effects through inventive laboratory printing techniques, although others may have been accomplished in the camera. The "nutty cameraman" was Pathé's special effects staff photographer Alvin Knechtel, whom the company credited with "inventing" a "multiple image" camera and printer, "the sensation of the past few months in technical circles."

Production Company: Pathé Exchange, Inc.
Series: Pathé Review
Special Effects Photographer: Alvin Knechtel
Transfer Note: Copied at 22 frames per second from a 35mm tinted print preserved by George Eastman House
Running Time: 3 minutes

New Music: Brian Robison (composition and electric guitar)

"The Prologue" from The Passaic Textile Strike (1926)

In January 1926, some sixteen thousand low-paid, mainly immigrant workers in the wool mills of Passaic and nearby New Jersey cities went out on strike. It proved to be one of the longest, most bitter, and most widely publicized strikes in U.S. labor history. Remarkably, the strikers themselves organized a feature-length film about the strike while it was still ongoing. Although two of the seven reels of The Passaic Textile Strike remain lost, the self-contained "Prologue" survives essentially complete and is seen here. Production costs seem to have been covered almost entirely by the American Communist Party, and involvement of Communists in leading the strike—in instigating it, the mill owners contended—was one of the many contentious issues. Indeed, because the strike was not fully settled for more than a year, much of the battle became a media war for public sympathy, fought through newspapers, pamphlets, and newsreels. Were the villains Red agitators or fat-cat capitalists? This engaged movie served simultaneously as a propaganda tool, a source of pride for the strikers (ten thousand of whom packed the open-air premiere in September 1926), and a method of raising relief funds through a national screening tour.

Production organization: Passaic Strike Relief Committee (International Workers Aid, distributor)
Producers: Albert Wagenknecht and others
Directors: Sam Russak and others
Writer: Margaret Larkin
Photographers: Lester Balog, Sam Brody, and William Schwartfeller
Transfer Note: Copied at 19 frames per second from a 35mm print preserved by the Library of Congress (AFI/Thomas Brandon Collection)
Running Time: 18 minutes

New Music: Martin Marks (piano)

Tramp, Tramp, Tramp (The Boys Are Marching) (1926)

Tramp, Tramp, Tramp, from May 1926, is one of the sing-along "Song Car-Tunes" that revived and revitalized an older tradition. At the turn of the century, movie exhibition had sprung up in vaudeville theaters on the same bills as song performances that were illustrated with projected glass slides. Many vaudeville houses closed out each program with song slides and movies, which needed the same basic illumination equipment. In 1924, Charles K. Harris, a songwriter and music publisher, suggested to Max and Dave Fleischer the idea that audiences might be persuaded to sing along with cartoons, as they had earlier done with slides. The brothers gave it a try with a cartoon for the 1924 song "Oh, Mabel" and found audiences singing so enthusiastically that theater managers were forced into repeat screenings. The Fleischers turned out about forty more "Song Car Tunes" rapidly over the next two years, relying on a basic template. The opening animation of Ko-Ko the Clown and his "Ko-Ko Kwartette" marching into the movie theater was simply reused each time. Ko Ko (originally based on shots of Dave Fleischer in a clown suit) was probably then second in popularity among animated characters only to Felix the Cat. The white "bouncing ball," to help musicians and audiences stay together, was initially animated frame by frame but by the time of Tramp, Tramp, Tramp was filmed live, with a white disk at the end of a black stick, through a process patented by Max Fleischer. In the last few stanzas the bouncing ball would be replaced by more inventive animation in the spirit of each song, as with the leaping, flag-waving prisoners here.

Production Company: Inkwell Studios (Red Seal Pictures Corp., distributor)
Series: Song Car-Tunes
Producer: Max Fleischer
Director: Dave Fleischer
Transfer Note: Copied at 24 frames per second from a 35mm print preserved by the Library of Congress (AFI/James Lippincott Collection)
Running Time: 4 minutes

New Music: Martin Marks (piano), Margaret O¿Keefe (conductor and soprano), Graham Wright (baritone), Melissa Casteel (French horn), Keith Durand (French horn), Chad Musser (French horn), Patrick Trappa (French horn), and Alex Turkovic (percussion).

From Zora Neale Hurston's Fieldwork Footage (1928)

Before writing the novels and most of the folktales for which she is now celebrated, Zora Neale Hurston traveled through the South gathering stories and documenting traditions. She was then the sole African American among the Columbia University graduate students of Franz Boas, the nation's leading anthropologist, who arranged for her 1927 fellowship. For her second Southern trip, in 1928, she was provided with a car, expenses, and a 16mm motion picture camera by the woman who became her benefactor through the early 1930s, Charlotte Osgood Mason. The seventy-five-year-old Park Avenue widow was herself an amateur anthropologist, whose interest in "primitivism" led her also to support other Harlem Renaissance artists. Known to survive are nine short 16mm reels (together running about thirty minutes) from the fifteen or more that Hurston shot. The raw footage was never edited, although notes made by Mason suggest an intention to do so. Hurston apparently had not previously operated a movie camera, and there are the expected number of badly exposed and otherwise unusable shots. Still, as revealed in excerpts such as the five selected here, her images are stunningly evocative. The footage is more than an anthropologic document of African American life in the South - although it is that also - and reflects back on the artist behind the camera.

Filmmaker: Zora Neale Hurston
Transfer Note: Five sequences copied at 18 frames per second from five 16mm prints preserved by the Library of Congress (Margaret Mead/South Pacific Ethnographic Archives Collection)
Running Time: 7 minutes

New music: Pam Wood (soprano), and Gregory Liszt (banjo).

Trailers for Lost Films

The first two trailers here promote serials from Universal Pictures. In the Days of Daniel Boone, a fifteen-episode "REVOLUTIONARY CHAPTER DRAMA" from 1923, alters history slightly to put Daniel Boone and his daughter at the center of the French and Indian War. The Silent Flyer, a ten-chapter serial from 1926, steals its setup from Clash of the Wolves, released less than a year earlier. Again a half-breed wolf dog becomes devoted to the hero after he heals the animal's paw, this time caught in a trap.The other four trailers are for Paramount features. The American Venus (1926) includes the first credited film role for the legendary Louise Brooks, then nineteen and later the star of G.W. Pabst's great German silents Pandora's Box and Diary of a Lost Girl (both 1929). Here she plays a minor beauty contest winner at the Miss America pageant and can be seen in a neatly choreographed shot included in the trailer. F. Scott Fitzgerald's The Great Gatsby was a best-seller from the previous year and the source for a successful Broadway play when this first film adaptation was released in November 1926. Beau Sabreur (1928), promoted as "the answer" to the popular Beau Geste (1926), was another French foreign legion tale from the same novelist, with twenty-six-year-old Gary Cooper taking over the lead from Ronald Colman. Ernst Lubitsch's The Patriot (1928) was loosely drawn from the history of the final years of Czar Paul I of Russia, son of Catherine the Great and assassinated in a palace revolt in 1801. On film he is "the mad czar" as played by Emil Jannings, who had won the first Best Actor Academy Award® the year before.

In the Days of Daniel Boone (1923)
Production Company: Universal Pictures
Directors: William Craft, Frank Messinger, and Jay Marchant
Writers: Jefferson Moffitt and Paul Bryan
Cast: Jack Mower (Jack Gordon), Eileen Sedgwick (Susan Boone), Charles Brinley (Daniel Boone), Herschel Mayall (General Braddock)
Transfer Note: Copied at 22 frames per second from a 35mm tinted print preserved by the UCLA Film and Television Archive
Running Time: 90 seconds

New Music: Martin Marks (piano)

The Silent Flyer (1926)
Production Company: Universal Pictures
Director: William Craft
Writer: George Morgan
Cast: Silver Streak, Malcolm McGregor (Lloyd Darrell), Louise Lorraine (Helen Corliss), Hughie Mack
Transfer Note: Copied at 20 frames per second from a 35mm print preserved by the UCLA Film and Television Archive
Running Time: 90 seconds

New Music: Martin Marks (piano)

The American Venus (1926)
Production Company: Famous Players-Lasky/Paramount
Director: Frank Tuttle
Writers: Frederick Stowers and Townsend Martin
Photographer: J. Roy Hunt
Cast: Esther Ralston (Mary Gray), Lawrence Gray (Chip Armstrong), Ford Sterling (Hugo Niles), Fay Lanphier (Miss America), Louise Brooks (Miss Bayport), Edna May Oliver (Mrs. Niles)
Transfer Note: Copied at 22 frames per second from a 35mm color print preserved by the Library of Congress (AFI/Jack Tillmany Collection)
Running Time: 2 minutes

New Music: Martin Marks (piano)

The Great Gatsby (1926)
Production Company: Famous Players-Lasky/Paramount
Director: Herbert Brenon
Writers: Becky Gardiner and Elizabeth Meehan, from the novel by F. Scott Fitzgerald and the play adapted by Owen Davis
Photographer: Leo Tover
Cast: Warner Baxter (Jay Gatsby), Lois Wilson (Daisy Buchanan), Neil Hamilton (Nick Carraway), Georgia Hale (Myrtle Wilson), William Powell (George Wilson), Hale Hamilton (Tom Buchanan), Carmelita Geraghty (Jordan Baker)
Transfer Note: Copied at 22 frames per second from a 35mm print preserved by the Library of Congress (AFI/Jack Tillmany Collection)
Running Time: 1 minute

New Music: Martin Marks (piano)

Beau Sabreur (1928) Production Company: Paramount Famous Lasky Director: John Waters Writers: Tom Geraghty and Julian Johnson, from the novel by Percival C. Wren Photographer: C. Edgar Schoenbaum Cast: Gary Cooper (Major Henri de Beaujolais), Evelyn Brent (Mary Vanbrugh), Noah Beery (Sheikh El Hammel), William Powell (Becque) Transfer Note: Copied at 23 frames per second from a 35mm print preserved by the UCLA Film and Television Archive Running Time: 55 seconds New Music: Martin Marks (piano)

The Patriot (1928)
Production Company: Paramount Famous Lasky
Director/Editor: Ernst Lubitsch
Writers: Hans Kraly and Julian Johnson, from the play by Alfred Neumann
Photographer: Bert Glennon
Set Designer: Hans Drier
Cast: Emil Jannings (Czar Paul I), Florence Vidor (Countess Ostermann), Lewis Stone (Count Pahlen), Neil Hamilton (Crown Prince Alexander)
Transfer Note: Copied at 21 frames per second from a 35mm print preserved by the UCLA Film and Television Archive
Running Time: 3 minutes

New Music: Martin Marks (piano)

Program notes by Scott Simmon