The Italian Society “Cines” of Rome, is studying the strongly educative influence of the cinematograph on the people with a view to elevating its productions and has decided to open an international competition for cinematograph dramas with prizes of considerable value. The Honorable Ferdinando Martini, Prof. Albert Besnard, Director of the French Academy at Rome, and the Honorable Vittorio Emanuele Orlando have agreed to head the commission, on which will figure the names of the most conspicuous personalities in the world of art and letters of different countries.
The prizes which will be awarded by the Society “Cines” are as follows : First, 25,000 francs; second, 5,000 francs; third, 2,500 francs; fourth, 1,000 francs; fifth, 500 francs. Other prizes of 100 francs will be awarded as arranged in the conditions.
The competition will be opened in the first days of November, 1913, and will close on April 30, 1914. All those, desiring to compete, can demand the conditions of the competition from the directors of the Italian Society “Cines,” 51 Via Macerata, Rome.
Un fotogramma del film The White Shadow (National Film Preservation Foundation)
Ricordate il ritrovamento del “primo film di Alfred Hitchcock”? Era il 4 agosto 2011. Poco più di un anno dopo il film è disponibile online, potete vederlo tutti nel sito della National Film Preservation Foundation. Gratis, free…
Se, per la sua e la nostra sfortuna, questo film fosse stato ritrovato in un archivio italiano forse, e dico forse, sarebbe a disposizione dei nostri bisnipoti nel 3012… Non dico altro.
Mi raccomando, se amate il cinema aiutate la National Film Preservation Foundation e donate qualche euro.
March 25, 1925. Frank Borzage and John Gilbert left for the Coast Saturday, following a short vacation here. Gilbert’s next part will be in “The Big Parade,” to be directed by King Vidor.
June 7, 1925. King Vidor’s “The Big Parade” — Although I hesitate to answer directly for several reasons, I really believe that this is my best picture. Here is a combination of a gripping story, sterling actors and a producing organization that stops at no expense in providing realistic settings and the other physical requisites of picture making.
Vidor Starts on Interiors. Hollywood — King Vidor has completed war scenes for “The Big Parade” and has commence shooting interiors.
August 24, 1925. Exteriors Filmed in Texas
King Vidor, wih a staff of cameramen and assistants, is in Ft. Houston, Texas, where he is photographing final scenes for “The Big Parade,” for Metro-Goldwyn-Mayer.
August 31, 1925. Talk of Road Show
Metro-Goldwyn-Mayer Considering Special Presentations for “The Big Parade”
Metro – Goldwyn – Mayer officials have under advisement a road show plan for “The Big Parade” a war picture directed by King Vidor from a story by Lawrence Stallings.
If advance reports are to be credited the picture is big. John Gilbert has the title role. The history of the production is interesting. Stallings who wrote “What Price Glory?” was engaged by Metro-Goldwyn-Mayer to do special work at the studio. This led to reports that M.-G.-M. had purchased the latter play which had been frowned upon by the Hays office.
Later Stallings wrote “The Big Parade” as an original. It contains much of the same atmosphere as “What Price Glory?”
September 24, 1925. A Sensation
Hollywood — “The Big Parade” now being completed by King Vidor. For Metro-Goldwyn-Mayer. “Will be the sensation of the year. When released. It will probably be some time before it reaches picture houses. For it will be roadshown first.
The first day I was in Hollywood Sol Lesser of West Coast Theaters met me. “You will see the greatest motion picture ever made,” he said, “if you are lucky — ‘The Big Parade.’
A few days later talking to Joe Schenck. Rambling along about various matters. Schenck always an interesting talker. Quite incidentally he said : “I just saw the greatest picture ever made — ‘The Big Parade’. It is marvelous. You must see it.
William Randolph Hearst who saw it at the same time I did declared it is the greatest picture he has ever seen. Norma (Talmadge) says the same thing. It is wonderful.
Talking to Norma an hour later. Asked her if she liked “The Big Parade.” “Did I?” she asked, “Well, it knocked me out. It is perfectly marvelous. I think it is the greatest picture ever made.” And Sid Grauman says : “It is a marvelous picture. A showman’s delight.”
If five people of the importance of Joe Schenck, William jR. Hearst, Norma Talmadge, Sol Lesser and Sid Grauman told you such a thing what i would you do? Would you try to see it? I’ll tell the world you would. But when the idea was suggested to Louis B. Mayer and his aides, Irving Thalberg and Harry Rapf it was another story. A very different sort of story, indeed. There was much shaking of heads; many negatives. “You see,” said Mayer, “we haven’t really completed it yet. We are still shooting. Yes ; it is practically ready for showing, but — ” And that ‘but’ was ominous.
It took a long time to argue them out of their position. But two days ago I saw it. “The Big Parade” is a marvelous picture. A very great picture indeed. It may be the greatest of all pictures ever made. If it isn’t, it is so close to it that I don’t want to be on the jury deciding the point. And “The Big Parade” makes King Vidor a place way on top. Way up front. Among the greatest of picture directors.
And while Vidor is entitled to a tremendous amount of credit much is also due. To Laurence Stallings, the author, to the M.-G.-M. organization and Thalberg personally. Who deserves the most is incidental. There is glory enough for all. And still some to spare.
November 6, 1925. “Big Parade” Opens on Coast
Los Angeles — “The Big Parade” had its world’s premiere at the Egyptian last night. The opening was handled in usual Coast style.
sempre in penombra 