The 'Liliom' film with Fritz Lang (Director) and Charles Boyer is the true gem in this collection
585054
Excellent version, but the 'Liliom' film with Fritz Lang (Director) and Charles Boyer is the true gem in this collection.
4871002
If you love silent movies this is a must-have for your collection. There are so many hard to find films in this set. I love seeing all these great actresses - Mabel Normand, Gloria Swanson, Louise Fazenda, and the Sennett bathing beauties!!!

Disc 1
Volume 1: In the Beginning: Film Comedy Pioneers

  1. One Too Many (1916)--Stan Laurel

  2. The Wrong Mr. Fox (1917)--d. Harry Jackson

  3. Mr. Flip (1909)--d. Bronco Billy Anderson

  4. Alkali Ikes Auto (1911)--Augustus Carney; Harry Todd

  5. Fox Trot Finesse (1915)--Sidney Drew; Mrs. Sidney Drew

  6. A Cure For Pokeritis (1912)--John Bunny; Flora Finch

  7. Be My Wife (1921)--Max Linder

  8. A Natural Born Gambler (1916)--Bert Williams

Volume 2: Keystone Tonight!: Mack Sennett Comedies

  1. Mabels Dramtic Career (1913)--Mabel Normand

  2. Barney Oldfields Race For a Life (1913)--Mabel Normand

  3. The Rounders (1914)--Charles Chaplin; Roscoe Fatty Arbuckle

  4. A Muddy Romance (1913)--Mabel Normand; Ford Sterling; Mack Swain

  5. A Movie Star (1916)--Mack Swain

  6. Teddy at the Throttle (1917)--Gloria Swanson; Bobby Vernon

Disc 2
Volume 3: Sennett in the Twenties

  1. Saturday Afternoon (1926)--Harry Langdon

  2. Super-Hooper-Dyne Lizzies (1925)--Billy Bevan; Andy Clyde

  3. Wandering Willies (1926)--Billy Bevan; Andy Clyde

  4. Circus Today (1926)--Billy Bevan; Andy Clyde

  5. His Marriage Wow (1925)--Harry Langdon

  6. All Night Long (1925)--Harry Langdon

Volume 4: Funny Girls: Genders and Their Benders

  1. The Detectress (1919)--Gale Henry

  2. One Wet Night (1924)--Alice Howell

  3. Know Thy Wife (1918)--Dorothy Devore

  4. Rowdy Ann (1918)--Fay Tincher

  5. Hearts and Flowers (1919)--Louise Fazenda; Ford Sterling

Disc 3
Volume 5: Keaton, Arbuckle and St. John

  1. Fatty and Mabel Adrift (1916)--Roscoe Fatty Arbuckle; Mabel Normand

  2. Oh, Doctor! (1917)--Roscoe Fatty Arbuckle; Buster Keaton

  3. The Garage (1920)--Roscoe Fatty Arbuckle; Buster Keaton

  4. The Boat (1921)--Buster Keaton

  5. The Iron Mule (1925)--Al St. John

Volume 6: Hal Roachs All-Star Comedians

  1. Oranges and Lemons (1923)--Stan Laurel

  2. Get Out and Get Under (1920)--Harold Lloyd

  3. Mighty Like a Moose (1926)--Charley Chase

  4. Big Moments From Little Pictures (1924)--Will Rogers

  5. Haunted Spooks (1920)--Harold Lloyd

Disc 4
Volume 7: Hal Roach: A Lot of Fun

  1. Laurel and Hardy Lafftoons--Laurel and Hardy

  2. Dogs of War (1923)--Our Gang; Harold Lloyd

  3. Fluttering Hearts (1927)--Charley Chase; Oliver Hardy

  4. Its a Gift (1923)--Harry Snub Pollard

Volume 8: Chaplin and the Music Hall Tradition

  1. A Night in the Show (1915)--Charles Chaplin

  2. A Rare Chaplin Snippet (1916)--Charles Chaplin

  3. The Rink (1916)--Charles Chaplin

  4. Live Wires and Love Sparks (1916)--Billie Ritchie

  5. Hes in Again (1918)--Charley Chase; Billy West; Oliver Hardy

  6. Pie-Eyed (1925)--Stan Laurel

  7. Only Me (1929)--d. Lupino Lane

Disc 5
Volume 9: The Race is On

  1. Water Wagons (1925)--Madeline Hurlock; Andy Clyd

  2. Outbound (1924)--Sidney Smith; Cliff Bowes

  3. Chasing Choo-Choos (1927)--Monty Banks

  4. Danger Ahead (1926)--Earl McCarthy; Charlotte Merriam

Volume 10: Tons of Fun: The Anarchic Fringe

  1. Yukon Jake (1924)--Ben Turpin

  2. Three of a Kind (1926)--Hilliard Fat Karr

  3. Dry and Thirsty (1921)--Billy Bletcher

  4. Family Life (1924)--Mark Jones; Ruth Hiatt

  5. Now You Tell One (1926)--Charley Bowers

  6. The Grocery Clerk (1920)--Larry Semon
2197794
i have several titles in this Midnite Movies double B picture collection . they're all fun and interesting . The cover of this set features what must have been original theatrical release poster art for both films . the reverse side has theater cards or alternative poster art . there is a quote "explicit realism" from the magazine Variety that pertains to the "four skulls" picture . in different colored masthead , synoptic write ups of the two films tell us just enough to tease our interest . as always , a fun fact is provided about each of the films . then we're given all the meaningful credits for each picture and finally told that in addition to closed captions , we can view either film with english , french or spanish subtitles . running times . B&W or color and the release dates . i like Voodoo Island about ***1/2 out of ***** stars . i was guite knocked out by The Four Skulls Of Jonathan Drake **** out of ***** stars . fun and highly collectable to my mind . this was the first double bill i saw courtesy of my local Library . i really feel these are a value  . Midnite Movies from M.G.M. actually cares that you share their evident enthusiasm .
3581950
If you love, admire and/or respect Mr. Poiter's early works and want to be sure you have some of them on DVD's of high quality, I have only two words about this classic collection:  BUY IT!
3047773
This DVD set is very impressive. Not only does it offer the masterpieces of D.W. Griffith's career (including, of course, Birth of a Nation) but it also has all the shorts from the two videos "Selected Biograph Shorts," additional shorts, a biography and news items, and memorabilia. I am very happy to finally be able to see "In the Border States" and "The House with Closed Shutters." They both star my favorite actor, Henry B. Walthall, and I was searching for these shorts for awhile. I believe this set represents the first time these shorts have been made widely available. Considering their age, they look great on this set. In addition, this collection offers a 6 minute discussion of Birth of a Nation between the director himself and Walter Huston (who played Lincoln in Griffith's 1930 talkie Abraham Lincoln), clips of Griffith's funeral, radio eulogy by Erich von Stroheim, and many other "special features." The memorabilia includes lobby cards and programs for Birth of a Nation, articles from Photoplay magazine which are copied well and easy to read, and photos, postcards and magazine covers of Griffith's leading ladies. I only wish the leading men received the same treatment, but one can't have everything. A silly short starring Griffith ("Rescued From the Eagle's Nest" from 1908) and a very fake looking bird is included. The presentation is very well-done with video clips and period music on the menu pages. The packaging is also handsome and displayable. I was hoping little booklets would be included with each disc, however, there are only slips of paper with the film listings and pictures. Still, the bonus shorts and tons of extras make this a must for any Griffith or silent film collection.
3701898
This is one of the stellar packages from the Criterion Collection. The films have been restored in the best possible condition; as far as can be seen, the films have been rendered so that the flaws which plagued the original prints (bad sound synchronization, cuts from different version according to the country of release, etc.) have been corrected, which was no easy task! Incredible care and diligence have been taken with these films, and the extras are voluminous and entertaining as well as informative. This edition of 3 FILMS BY ROBERTO ROSSELLINI STARRING INGRID BERGMAN was obviously a labor of love for all concerned, but kudos must be given to Ingrid Isolte Rossellini and Isabella Rossellini: they waited until digital technology could fulfill all the restoration aims before allowing these films to be seen in their correct forms. This is a stunning achievement!
1357156
It's such a treat and joy to have so many Roscoe Arbuckle films gathered together in one place, and with such a respectful and top-notch treatment, after so many years of unavailability.  This set proves that he was indeed the true fourth genius of silent comedy, a title which I personally think he deserves far more than the overrated Harry Langdon.  Most of my favorites on this set are on the third and fourth discs, among them 'The Waiters' Ball' (1916), 'Love' (1919), 'Coney Island' (1917), co-starring a frequently smiling Buster Keaton, 'He Did and He Didn't' (1916), and the four 1920s shorts he wrote and directed with various second-tier silent comedians.  (The final short, 'Bridge Wives' [1932], stars his nephew Al St. John, who appears in almost all of the other shorts; it was so nice to finally hear his voice, after so long of only seeing him in silents!)  Viewing the shorts in order really gives a sense of how much he was developing as a performer and a comedian, going from the rather crude and simplistic earliest Keystones (which, to be honest, haven't really aged that well) to more complex, polished, and sophisticated shorts like 'He Did and He Didn't' and 'Love,' culminating in his long-unreleased feature 'Leap Year' (1921), a truly well-crafted and sophisticated character comedy.

Though for many people, Keystone comedies are an acquired taste, one can't really be a fan of Roscoe unless one appreciates and respects these early film roots of his.  Though the earliest Keystones haven't aged so well, they were hugely successful and made him a huge star, so much so that the other comedians of the era, particularly Chaplin and Keaton, often copied from him and considered him a very important teacher.  And even within the confines of Mack Sennett's style, one can see Roscoe adapting his own character and slowly breaking out of that Keystone mold, becoming more independent.  There's a huge difference, for example, between films like 'Fatty Joins the Force' (1913) and 'A Flirt's Mistake' (1914), and mid-range films like 'Fatty's Plucky Pup' (1915) and 'Wished on Mabel' (1915), where there's more of a plot and greater character development.  One also must consider the audience for whom these early films were made.  At this time, the movies were still by and large the entertainment of the masses, many of them immigrants who couldn't speak English, not refined high-society folks.  These shorts may appear cookie-cutter, crude, and badly-aged today, but in their time they did the job they were supposed to for their target audience.

Once Roscoe did get away from the Keystone mold and gained more control over his films, he just got better and better, more and more professional, funnier and funnier, with a more and more endearing character.  It's such a pity that the unfortunate scandal and his subsequent undeserved blacklisting happened when they did, since he'd been at the peak of his career, the top of his game, in some places voted the number-one comedian, above even Chaplin.  He was even the very first of the big-name comedians to make a feature film, though it was unreleased in America for decades.  There's no telling how his career would have continued to unfold had events gone otherwise.  One can only guess how well he might have transitioned into features, the later part of the silent era (since the late Teens and very early Twenties were kind of a transitional period for film), or even the early sound era.  Given the strength of the included shorts he wrote and directed, though, it seems as though he would have continued to soar as a star in his own right.  It's too bad that the producers of this set didn't include one of his own sound shorts from the early Thirties, just to complete the view of the development of his career.  It's too bad that this wonderful set is already out of print, but perhaps someday there might be another volume issued of more of his surviving films, esp. as more of them are turning up in recent years.
1702199
This is a fine set of DVDs that needs to be cherished by all fans who like movies of pre-code era and the golden age of Hollywood. These are some of the best movies that came out of the studios. My favorite in this set is the movie Divorcee (1930) starring Norma Shearer

Divorcee (1930)

Norma Shearer shines like a star in this pre-code film of 1930. This is one of the early pre-code films that test the nerves of Hays office that would later police the morality depicted in Hollywood films. Jerry (Norma Shearer) and Ted (Chester Morris) are happily married couple until their anniversary, when Jerry discovers that Ted is unfaithful to her. When confronted he dismisses it as "it doesn't mean a thing." In a hurtful mood, she responds with her own one night stand. One of the prominent features of this film is that not only discusses very openly the double standards in judging women with regards to morality but Shearer offers an outstanding performance as a married woman who is hurt and angry. Rightfully so, the Academy honored her with an award in the best actress category.

The movie has a bit of history, when MGM was seriously considering Joan Crawford for the role, Shearer placed a bid on it. But her own husband and MGM executive Irving Thalberg thought she is not glamorous for the role, but after seeing her publicity shots made with photographer George Hurrell, he agreed to cast her in the movie. This caused a serious rift with Joan Crawford who was very interested in this project. The story is based on the novel Ex-Wife by Ursula Parrott, which was directed by Robert Z. Leonard

Female (1933)

Female (1933) starring Ruth Chatterton is my second favorite movie from this set. The story is about Alison Drake (Ruth Chatterton) is the wealthy owner a large automobile company, and she uses her wealth to have affairs with much younger men and some are her own employees, until she meets a man who is not too impressed with her money.

A Free Soul (1931)

A Free Soul is a 1931 Pre-Code film which tells the story of an alcoholic defense attorney who has to defend his daughter's ex-boyfriend on a charge of murdering the mobster she had started a relationship with. A Free Soul is drama that casts top stars of the day which includes; Norma Shearer, Leslie Howard, Lionel Barrymore, and Clark Gable.
4898691
These two classics for the price of one are a bargain indeed. They represent the Mexican Film industry during its peak years in the 1940's. Unfortunately, there are no English subtitles or Extras. 'Las Abandonadas' is a period piece set in the early part of the 20th century. It is the rather melodramatic telling of a young woman who is seduced and duped. She has an illegitimate child (a no-no in those days) and moves to the city. There she becomes quite the elegant courtesan (at a bordello that looks like the Presidential Palace of a small European republic!). A general for the rebels catches her attention and she becomes his mistress. I will not give away the subsequent series of tragic events or plot twists (reminiscent of Madame X). Needless to say, this being a vehicle for screen legend Dolores Del Rio, the whole affair is quite over the top, but sumptuously served. Del Rio's performance holds the whole thing together; the lady goes from A to Z and back. Her performance is absolutely mesmerizing going from naive young lass, to elegant prostitute, to crazy lowlife, to pathetic old woman. Leading man Pedro Armendariz is stuck with the thankless role of a fraudulent oportunist, but acquits himself with his usual class act.

The second Feature, 'Buganbilia,' another period piece, presents a Mexican version of Scarlett O'Hara: a spoiled young heiress, her papa's pampered daughter falls for a lower echelon rancher (Pedro Armendariz) causing her father's ire. I will not go any further so as not to spoil the fun. Needless to say, such a vain peacock ends up paying for her frivolity. Again, this a a sumptuous presentation of doomed lovers fighting the adverse odds with gorgeous photography and top notch production values. Though rather mature for her role, Del Rio is served well by her director and her cameraman, if only the scripts had avoided the usual spate of clichs. These films are perfect examples of escapist cinema at its very best with a very rooted sense of national pride and tradition. There will never be the likes of these epics again. Their equivalent would be the British Gainsborough epics of the 40's starring Margaret Lockwood and Stewart Granger. Lions Gate should be commended for committing these two Del Rio opuses to pristine DVD's. You will not be sorry to add this one to your collection.
3700660
This is released as two discs for the price of
one, covering four hours of very good slapstick
comedies made by Arbuckle and Keaton between
1917 and 1919. These are works that do not seem
identical or formulaic upon repeated viewings,
and the later ones are actually so good that to
find personal favorite gags in them is not at
all difficult.
The video quality varies between quite acceptable
(especially in the earliest ones) to excellent.
The music consists largely of excellent piano
accompaniment but other types as well, so there
is enough variety across the program.
In conclusion, these are a great bargain for those
who are interested in silent comedies yet have not
own this material on video yet.  An addition to
any classic movie collection that one is unlikely
to regret about.
256323
This is a great collection of rare old films, lovingly selected, restored, and scored by noted accompanist Ben Model.  The comedians assembled here will be unfamiliar to most people, and you won't find any Chaplins, Keatons, or Lloyds among this group.  Image quality varies, but all have been reproduced as clearly as possible, and always with excellent contrast and, where missing, nicely reproduced credits and intertitles.  Viewers will differ on personal favorites, but my choices would be the Billy Franey short THE WATER PLUG (familiar gags, but well done), Clyde Cook's THE MISFIT (more familiar gags, again done well), and Paul Parrott's SHOOT STRAIGHT (seemingly the prototype for many Warners cartoons to follow).  The "Out of the Inkwell" Fleischer brothers cartoon MECHANICAL DOLL is utterly charming.  The Elgin Watch Company industrial THE HOUSE OF WONDERS, seemed like a curious inclusion, but turned out to be (for me, at least) fascinating viewing, and a sad reminder of our country's once formidable industrial might, long since parceled out to other countries.  This collection isn't for everyone, of course, so those of you with closed minds regarding silent and/or black-and-white films should probably think twice before purchasing.  Everyone else should be pleasantly surprised, however, and be sure to view the DVD's credits.
224813
If you are a fan of Myrna Loy and William Powell films, this collection is a must!  It contains two dramas, Manhattan Melodrama, and Evelyn Prentice, which shows these two stars at their dramatic best, and three comedies,Double Wedding,I Love You Again and Love Crazy. The only difficulty is deciding which of these three comedies is most enjoyable.
Thin Man series fans, this is a great addition!
4796464
After spending years trying to catch up with Buster Keaton's various films from the 1920s, and often winding up with terrible picture quality, it almost seemed miraculous to view Kino's 11-disc dvd collection.  Many fine observations have already been made by other reviewers so I'll add something original.  One of the delights in viewing this collection [containing ALL his 1920s films except his last two features for MGM, The Cameraman (1928) and Spite Marriage (1929)] is comparing Keaton's own comments from various published biographies.
For my tastes, the films I liked best, such as SEVEN CHANCES, were those that Keaton seemed to like the least.  On the other hand, the ones Keaton remembered most fondly, such as THE NAVIGATOR, were a mixed bag to me.  I had seen THE GENERAL many times over the years, including on the big screen, but I think that Kino's version is the best looking of them all.
Keaton led a charmed life as an independent filmmaker throughout most of the 1920s.  Unlike Chaplin or Harold Lloyd who risked their own money in producing their films, Keaton never put up a dime to make his films.  A sympathetic producer, Joseph Schenck, who eventually became his father-in-law, financed Keaton's films until circumstances prevented him from doing so.  Then Keaton went to MGM - which is another controversy to be saved for the time, if ever, when the Buster Keaton MGM collection is issued.
The bonus disc is interesting for a number of reasons.  For me, it was curious to see Keaton's girlfriend from 1929's SPITE MARRIAGE play his leading lady in a 1934 short film for a small studio.  Apparently, they had both come a long way down by then.
4288065
This is a particularly valuable documentary for cineastes to savour, because of the unique nature of the reminiscences concerning film personalities in the late 1920s and the 1930s, as discussed by actress Louise Brooks during an interview given her by documentarian Richard Leacock, a work that forms the basis for Kenneth Tynan's famous New Yorker profile of Brooks that, in turn, contributed hugely toward elevating the dark eyed performer to cult status, although there are some who believe that she has not the talent to support the resultant acclaim, but rather that her own writing of her cinema experiences is after being a gift to herself.  Leacock crosses against his grain here, as he had promised never to utilize a tactic of an interview, but he blithely alters his decision to create this piece, shot with 16mm. in the former star's small Rochester, New York apartment the year preceding that of her death, a pleasing effort that provides some fresh insights into the careers of notable players and directors, at the same time opening pages of what has been a closed book of her own life.  Among the morsels included are: her reason for going to Berlin (more money); a rationale behind the selection of her by G.W. Pabst instead of Marlene Dietrich to play as Lulu in PANDORA'S BOX (Dietrich at 25 was too worn-looking); her complete ignorance of her role, with no knowledge concerning Frank Wedekind, Lulu's creator; the stormy relationship with dilettante George Marshall, owner of the Washington Redskins football team; her detailed comparison of auteur Pabst's working methods with those of Ernst Lubitsch and Edmund Goulding (the great German director employed a separate fashion of psychology with each of his players, whereas the latter pair acted out each role as he wished it to be performed); a description of French director Rene Clair; her negative opinion of Hollywood "producers": they (all, apparently) are filled with lust for power and a craving to "sleep with beautiful actresses".  The documentary benefits as well from some brief but valued clips from other films than PANDORA, including Pabst's powerful DIARY OF A LOST GIRL, featuring Brooks, and JOYLESS STREET, with Greta Garbo, each notable for the imaginative textures created by the director; scenes of Leni Riefenstahl as both director and player; the 1927 silent classic BERLIN: SYMPHONY OF A GREAT CITY; and the sequence from PANDORA wherein Brooks launches into a free style Denishawn dance item.  A separate BBC version, part of the British produced series "Film Firsts", and released against the wishes of Leacock, has appended a brief and quite well designed overview of Brooks' career in film, with significant footage, including the final feature film appearance by her, along with short snippets of Vilma Banky, Camilla Horn, and others.  Although Brooks emphasises her hatred of Hollywood, she splashes cold water upon the credibility of such an emotion by her return there, completing her cinematic feature film output by acting in "B" Westerns, the final one seen here (with John Wayne), and in the end it is the unique and striking camera technique of Pabst that leaves the most lasting impression, causing a viewer to surmise that perhaps the primary contribution of Brooks to world aesthetics is actually her espousement of the page boy, or bobbed, hair style that she popularized as her trademark.
4967348
The Ultimate Pirate Collection is not only a great collection of exciting sea-faring adventure movies, it is a study of the evolution of movies as they transformed themselves from silent to sound. Movie buffs will be fasinated with the production techniques used to craft these old films. They also deal with very interesting social and political situations that are very intersting to history buffs. Being both a history buff and a movie buff myself, I could not be happier with this collection. It's the best $8.47 I have spent for a long time.
4754483
I'm not sure what to make of some of the previous reviews regarding the quality of the DVD transfers of these films. I agree with the poster who said that THREE SMART GIRLS has a slightly grainy quality to it compared to the other films, but the picture quality for all of these films is a big improvement over the picture quality of the videotapes released by MCA/UNIVERSAL in the late 1990s.

Both the picture and sound quality are much sharper and clearer than on previous releases of these films. I'm a big fan of Deanna Durbin's and have seen these films many times, but these are the cleanest crispest copies I've ever seen. I"ll admit that they don't quite meet the standard of the highest grade DVD classic release process given to films like THE ADVENTURES OF ROBIN HOOD, MEET ME IN ST LOUIS and SINGIN' IN THE RAIN, but they're as good overall quality as any other DVD editions of classic films in my collection.

In any case, no one should pass out the opportunity to check out the delightful Deanna Durbin. Love her or hate her, like all great stars, she was a one-of-a-kind performer, much imitated by other studios' attempts to cash in on her unique combination of beauty, talent, charm and an oustanding, uniquely pure and natural lyric soprano singing voice, but never equalled. She captured the world's affection to a degree few, if any, of her contemporaries could match and among her most ardent fans were World Leaders like Winston Churchill, Franklin Delano Roosevelt and Joseph Stalin. Admirably, when she felt that she had had enough (and despite many tempting subsequent offers to resume her career), she wisely walked away from fame and devoted herself to family and friends, enjoying a comfortable and wealthy retirement for over fifty years now.

These six films are an excellent introduction to Durbin's remarkable talent and legacy and shouldn't be missed by anyone who enjoys and appreciates great singing and great comedy. If you've never seen a Durbin film before, give this collection a try. You won't be disappointed!
2243833
Having read Forgotten Horrors several times I was so looking forward to
this book and it didn't disappoint. Fans of George E. Turner and Michael
H. Price will know what to expect - loads of amazing film knowledge about
60 movies dealing with "human" monsters. I wasn't sure what to expect but
a quick glance at some of the titles I was familiar with and I knew.
Erich Von Stroheim's masterful performance as an egotistical ventriloquist
who eventually succumbs to madness in "The Great Gabbo" , an early
talkie psychological thriller - with about 7 musical numbers to appease
the public's insatiable (in 1929) desire for musicals. Lionel Atwill is
Eric Gorman, an insanely jealous zoologist, who is always thinking of new
ways to dispose of his wife's lovers, in "Murders in the Zoo" (1933) - the
first scene is unbelievable.
Women are also represented - Anne Baxter in the little known "Guest in the
House" (1944) - it was also known as "Satan in Skirts" - almost a dress
rehearsal for "All About Eve". She plays a "sweet" girl with a heart
condition taken in by her doctor's family - almost too late they realise
she is a psychopath (the audience cottons on much quicker). Laraine Day's
tour de force performance in "The Locket" (1946) - a film that critics and
the public found hard to understand at the time, told as a flashback within
a flashback within a flashback.
Every film has a detailed cast list, a synopsis and an essay about the
background of each film. The book also features films from all studios
major and minor, classics like "The Old Dark House" (1932), "Dragonwyck"
(1946) to unknowns like "Mystery Ranch" (1932), "Who is Hope Schuyler?"
(1942). There are some oddities - "Uncivilised" (1936), an Australian
film, which apparently had a huge influence on Paul Hogan's "Crocodile
Dundee". "Sweeney Todd - Demon Barber of Fleet Street" (1936) - which
brings long over due attention to the career of Todd Slaughter. There
are also 2 appraisals of films I wouldn't have looked twice at - "Broken
Blossoms" (1936) - a British remake of D.W. Griffith's legendary 1919
film, apparently he went to England to direct it but disagreements made
the deal fall through. Also the remake of "M" (1951) - I have never been
interested in seeing this but the article makes me want to.
For people familiar with the authors' work, this book makes compelling reading.