Don Juan (1926) John Barrymore (silent) TVRip
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| Torrent Added : | 1 Year+ in Movies |
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Torrent File Content (3 files)
Don Juan 1926
Don Juan 1926.avi -
Don Juan 1926.avi -
1.09 GB
Don Juan 1926.txt -
9.91 KB
Don Juan 1926.jpg -
4.05 KB
Description
http://www.imdb.com/title/tt0016804/
Don Juan (1926)
Director:Alan Crosland
Writers:Walter Anthony (titles)
Lord Byron (poem)
Runtime:167 min | Spain:110 min | 112 min (TCM print)
John Barrymore ... Don Jose de Marana / Don Juan de Marana
Myrna Loy ... Mai, Lady in Waiting
Mary Astor ... Adriana della Varnese
Nigel De Brulier ... Marchese Rinaldo
Hedda Hopper ... Marchesia Rinaldo
If there was one thing that Don Juan de Marana learned from his father Don Jose, it was that women gave you three things - life, disillusionment and death. In his father's case it was his wife, Donna Isobel, and Donna Elvira who supplied the latter. Don Juan settled in Rome after attending the University of Pisa. Rome was run by the tyrannical Borgia family consisting of Caesar, Lucrezia and the Count Donati. Juan has his way with and was pursued by many women, but it is the one that he could not have that haunts him. It will be for her that he suffers the wrath of Borgia for ignoring Lucrezia and then killing Count Donati in a duel. For Adriana, they will both be condemned to death in the prison on the river Tigre
Trivia for
Don Juan (1926) More at IMDbPro »
advertisementDon Juan plants 191 kisses on various females during the course of the film, an average of one every 53 seconds.
Although this was the first feature film with a Vitaphone soundtrack (therefore being the first film with a completely synchronized soundtrack), it is by no means the first sound film. The first sound film can be dated back to 1895, the process was re-discovered and improved by a French company (using a gramophone) in 1910. In 1913 Thomas A. Edison announced that all the problems of sound films were solved, and showed what he called, "the first sound film." As in the earlier efforts, 'Nursery Favorites' (1913) had a gramophone that appeared to synchronize with the film. There was one problem: the film was projected at the wrong speed, and the soundtrack was slowed down inadvertently. This problem happened all too often, and a frustrated Edison abandoned his process. In 1921, D.W. Griffith employed various experts to film a sound introduction for his film Dream Street (1921), which still exists, and went the performance went off without a hitch. Griffith soon stopped using sound because he thought it was financial suicide, stating "Only 5% of the world speaks English, so why should I lose 95% of my audience?" However by 1925 sound had arrived in the form of radio, and it was inevitable that film would follow. Movie studios tried various innovations to keep audiences coming (Technicolor, wide screen etc.) Warner Brothers, then a lesser film company, bought the old Brooklyn-based Vitagraph Studios and their all-important network of 34 film exchanges (the film distribution network vital to each studio) in 1925 and laid out plans to become a dominant force in the film industry. One of the 4 Warner Brothers, Sam, felt the future was in sound and convinced his skeptical older brother Harry (Warner's money man) to throw their lot in with Western Electric's 16" disc-based recording system, forming the Vitaphone Corp. on April 20, 1926 as 70% stockholders. Oddly, Sam never envisioned the system for voice synchronization, rather he saw it as an economical way to add the added dimension of musical accompaniment. The Vitaphone process solved the synchronization problem electro-mechanically, corresponding the projection speed with the recorded disc by utilizing the same motor for both devices. While cumbersome in both recording (editing was impossible) and play back (discs were fragile), Vitaphone represented the peak of technological innovation, albeit briefly. 'Don Juan', the first Warner Bros. feature to utilize the Vitaphone process, debuted in a gala premiere on August 6th 1926 and while it was a hit, it signaled a industry format war unrivaled until the 1980's Beta vs. VHS battle. Warner's 'The Jazz Singer' would become a monster hit 13 months later solidly proving the public's interest in sound. But there were several sound systems then in development and none were interchangeable and the major outfits like MGM and Paramount adopted a wait and see attitude that persisted well into 1929. The most practical, Fox's Movietone (sound on film) system eventually won out and Warner's abandoned recorded discs in 1930 but kept the Vitaphone trademark before the public into the 1940s.
The character of Pedrillo, Don Juan's heavy set assistant, disappears half way through the movie because Willard Louis died while the movie was still in production.
At the film's premiere, Will Hays, the then "Czar" and censor of the industry, contributed an on-screen introduction, talking in synchronized sound, greeting everyone in the audience with "Welcome to a new era of motion picture." After that, the Los Angeles Philharmonic was filmed playing "Tannhäuser", violinists Mischa Elman and Efrem Zimbalist Sr., guitarist Roy Smeck, three opera shorts with Giovanni Martinelli Marion Talley, and Anna Case, and then the feature. It was a huge success.
John Barrymore performed all of his own stunts in this film.
User Comments:
10 out of 10 people found the following comment useful :-
John Barrymore out-Fairbankses Doug Fairbanks in DON JUAN, 20 April 2006
Author: from Fairfax, Virginia
I appreciate the comments made so far on this film but most seem to judge this film in a vacuum and without any background on the silent film genre, a medium quite different from sound films. One commenter even criticized the film for being in black & white. Come now, that's rather silly.
DON JUAN belongs to the great tradition of silent film swashbucklers during the 1920s of which Douglas Fairbanks was the King (and who self-financed his films). Beginning in 1920, Fairbanks effectively switched gears from his modern dress satires of American foibles he made during 1916 to 1919, to literally recreating his boyhood daydreams of being an action hero of Days of Old. The public responded enthusiastically and Doug made a fortune. But his films reaffirmed a kind of rigid moral system and both his character and the heroine were invariably chaste. Clearly, other film makers who were a bit more daring sensed an opportunity to go further than Fairbanks had been willing to go and Warner Bros. struck while the iron was hot in 1926 with DON JUAN.
Compared to the Fairbanks films such as Three Musketeers (1921), Robin Hood (1922), Thief of Bagdad (1924), and Don Q, Son of Zorro (1925), which are to this day excellent films, DON JUAN seemed like a revelation with its sexually overt protagonist and equally overt female characters (when Lucretia Borgia first sees Don Juan, a close up shows her clearly eyeing his crotch!). In addition, John Barrymore (aided occasionally by a stunt double) provided a sufficient number of athletic stunts that would satisfy most Fairbanks fans. DON JUAN was and remains a most exhilarating film with a unique conclusion that combines a chain reaction of swashbuckling events.
I must take exception to the most recent commenter's claim that actor Willard Louis, who played Juan's servant Pedrillo, died mid-point in filming. Poor Mr. Louis indeed perished from typhoid fever but either after filming had been completed or at least after his work was completed. He appears throughout the film and his presence during the film's final moments would have been unnecessary. However, if the previous reviewer wanted to question Joseph Swickard's disappearance from the film (he played Mary Astor's father), I would agree that his sudden departure from the story was strange. However, Mr. Swickard lived and appeared in films for many more years so perhaps in DON JUAN he was merely the victim of the film editor who needed to tighten up the story. At any rate, it is a great film and the original Vitaphone music score interprets the action so well that all the young composers who are hired by Turner Classic Movies to provide new scores to silent films ought to be required to see - and hear - DON JUAN to fully comprehend the relationship between silent film and its musical accompaniment
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