Now With More Than 3000 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 2500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Thursday, December 4, 2014

THE BIG PARADE (1925)

King Vidor’s ‘everyman’ WWI war film, the highest grossing film of the silent era, now out in an exceptional restoration sourced from original elements, with a fine new score from Carl Davis. Yet even at its considerable best, admittedly not all of the time, the film has nothing like the impact it once had. Less because its themes, incidents & details have been reused to death (when not being gleaned for things missed); more because Vidor’s filmmaking faults & virtues don’t infringe on each other. In the Vidor canon, the Good, the Great and the Flat work discretely, making his films something of a Stop/Start proposition. Planned as the first effort in a WAR, WHEAT and STEEL trilogy, who but Vidor would name his protagonist in the camaraderie, horror & lessons of all out war James Apperson? (As in ‘A Person.’) A reach in ambition & mock humility worthy of D.W. Griffith; a director whose merits/demerits are hopelessly intertwined. Still, when the ‘good’ is this good, you have to take it as offered. And in about five or six thrilling set pieces that alternate intimacy with large-scale events (like the end of Part One from the Call to The Front to the clinging farewell for lovers John Gilbert & Réné Adorée, both at their very best), the chaff falls away to reveal Vidor, and the silent cinema, at their sweeping visual best.

DOUBLE-BILL: Vidor, Gilbert, Adorée & Karl Dane followed this up by welcoming Lillian Gish to M-G-M in a superb LA BOHÈME/’26. Then, a final Gilbert/Vidor collaboration in the recently rediscovered BARDELEYS THE MAGNIFICENT/’26 - see below.)

READ ALL ABOUT IT: Vidor’s A TREE IS A TREE, one of the least boastful, most charming auto-bios from any Hollywood director.

No comments: