#harry beaumont

[marypickfords]

Dance, Fools, Dance (Harry Beaumont, 1931)

[precodesoul]

Lois Moran photographed by George Hurrell for WEST OF BROADWAY (1931)

[gatutor]

Marion Davies-Lawrence Gray "The florodora girl" 1930, de Harry Beaumont.

[colorhollywood]

John Barrymore with Carmel Myers in Beau Brummel, 1924. Directed by Harry Beaumont

It may seem like a hundred years have passed, yet the movies still don't get old. Find time (two hours) and watch this movie.

Death kills but once – Life kills many times.

[letterboxd-loggd]

Unashamed (1932) Harry Beaumont

January 18th 2025

[travsd]

Harry Beaumont: From Main Street to Maisie

Harry Beaumont (1888-1966) is not regarded today as a great cinematic auteur, and perhaps he shouldn’t be in terms of such matter as camera placement, shot composition, and so forth (and to be fair, he started directing back in the cinematic Dark Ages). But perhaps he ought to be given a second look at to WHAT he shot, the stories he told, for these seem to coalesce into a voice. Originating in…

[byneddiedingo]

Joan Crawford in Our Dancing Daughters (Harry Beaumont, 1928)

Cast: Joan Crawford, Johnny Mack Brown, Nils Asther, Dorothy Sebastian, Anita Page, Kathlyn Williams, Edward R. Nugent, Dorothy Cumming, Huntley Gordon, Evelyn Hall, Sam De Grasse. Screenplay: Josephine Lovett; Marian Ainslee, Ruth Cummings (titles). Cinematography: George Barnes. Art direction: Cedric Gibbons. Film editing: William Hamilton. Music: William Axt.  Diana (Joan Crawford) is a Good Girl who people think is a Bad Girl because she likes to dance the Charleston on tabletops. Ann (Anita Page) is a Bad Girl posing as a Good Girl to try to land a rich husband. Beatrice (Dorothy Sebastian) is a Good Girl trying to hide the fact that she used to be a Bad Girl from Norman (Nils Asther), the man she has fallen in love with. And so it goes, as Ann steals Ben (Johnny Mack Brown) away from Diana, and Beatrice confesses her past sins to Norman, who marries her but doesn't really trust her. This romantic melodrama was a big hit that established Crawford as a star. She's lively and funny and dances a mean Charleston -- a far cry from the long-suffering shoulder-padded Crawford of Mildred Pierce (Michael Curtiz, 1945) and the melodramas of her middle age, though we can see a hint of the Crawford to come when she squares off against Page, using her big eyes and lipsticked mouth as formidable weapons. The movie is semi-silent: It has a synchronized music track with some forgettable songs and occasional sound effects like the ring of a telephone and the knock on a door, and once there's a spoken line from a bandleader: "Come on, Miss Diane, strut your stuff." But most of the dialogue is confined to intertitles that tell us Diana has asked a boy to dance ("Wouldst fling a hoof with me?") or that Freddie (Edward J. Nugent) has asked Ann if she wants a drink ("Lí'l hot baby want a cool li'l sip?"). The Jazz Age was probably never like this, even at its height, which was several years earlier, but there is fun to be had here. The story, such as it is, was by Josephine Lovett, and those title cards were the work of Marian Ainslee and Ruth Cummings, who give it a mildly feminist spin: Despite the slut-shaming, the film is solidly on the side of the rights of women to have a good time. Lovett's story and George Barnes's cinematography were considered for Oscars -- there were no official nominations this year -- but lost out. 

[byneddiedingo]

Diana (Joan Crawford) is a Good Girl who people think is a Bad Girl because she likes to dance the Charleston on tabletops. Ann (Anita Page) is a Bad Girl posing as a Good Girl to try to land a rich husband. Beatrice (Dorothy Sebastian) is a Good Girl trying to hide the fact that she used to be a Bad Girl from Norman (Nils Asther), the man she has fallen in love with. And so it goes, as Ann steals Ben (Johnny Mack Brown) away from Diana, and Beatrice confesses her past sins to Norman, who marries her but doesn’t really trust her. This romantic melodrama was a big hit that established Crawford as a star. She’s lively and funny and dances a mean Charleston – a far cry from the long-suffering shoulder-padded Crawford of Mildred Pierce (Michael Curtiz, 1945) and the melodramas of her middle age, though we can see a hint of the Crawford to come when she squares off against Page, using her big eyes and lipsticked mouth as formidable weapons. The movie is semi-silent: It has a synchronized music track with some forgettable songs and occasional sound effects like the ring of a telephone and the knock on a door, and once there’s a spoken line from a bandleader: “Come on, Miss Diane, strut your stuff.” But most of the dialogue is confined to intertitles that tell us Diana has asked a boy to dance (“Wouldst fling a hoof with me?”) or that Freddie (Edward J. Nugent) has asked Ann if she wants a drink (“Lí'l hot baby want a cool li'l sip?”). The Jazz Age was probably never like this, even at its height, which was several years earlier, but there is fun to be had here. The story, such as it is, was by Josephine Lovett, and those title cards were the work of Marian Ainslee and Ruth Cummings, who give it a mildly feminist spin: Despite the slut-shaming, the film is solidly on the side of the rights of women to have a good time. Lovett’s story and George Barnes’s cinematography were considered for Oscars – there were no official nominations this year – but lost out. 

Joan Crawford in the opening moments of Our Dancing Daughters, 1928

[erstwhile-punk-guerito]

[jeffreymeowmont]

some eighties album covers i redesigned with characters from twin peaks/david lynch stuff

[marypickfords]

Joan Crawford in Dance, Fools, Dance (Harry Beaumont, 1931)

[dolphelecat]

Backstage Revolve Nonsense

From Chris Leask’s London Theatre Direct Instagram takeover

[gatutor]

Ann Sothern-Ava Gardner "Maise goes to Reno" 1944, de Harry Beaumont.

[enter-drfrog]

Another fun Peter Pan Goes Wrong moment from the other night. After Annie was electrocuted, they took her fairy wings off to give her breathing room and to get a better look at her. But when they took them off they handed the wings to Francis who handed them off to the next person. The next person being a man in the front row. The guy in the audience just kinda held them for a minute before Francis took them back. But the poor guy in the audience just did not know what to do with the wings

[letterboxd-loggd]

When Ladies Meet (1933) Harry Beaumont

April 3rd 2024

[personinthepalace]

Prisoner by Harry Kershaw

Tonight is Harry's last show as the narrator in ppgw!!!