Celluloid discs in his mouth distorted his cheekbones. He heightened this with protuding false teeth, to which were attached small prongs that drew back the corners of his lips. The excruciatingly painful make-up consisted of a device that spread his nostrils and lifted the tip to produce the effect of a skeleton’s skull. His playing of the crazed musician is in the grand manner and his beautifully stylized gestures are most effective, whether evoking pity or horror. The Phantom of the Opera followed Lon Chaney’s memorable Quasimodo in The Hunchback of Notre Dame. Polis ( Phillippe de Chagny), Virginia Pearson ( Carlotta), ARthur Edmund Carewe ( The Persian). The art of the ballet has always been a difficult one to depict on film, and these two pictures will remain permanent records of the Ballet Russe de Monte Carlo.Ĭast: Lon Chaney ( The Phantom, Erik), Mary Philbin ( Christine Dae), Norman Kerry ( Raoul de Chagny), Snitz Edwards ( GFlorine Papillon), Gibson Gowland ( Simon), John St. The Gay Parisian was re-issued this year, but both will shortly be withdrawn for circulation. Spanish Fiest is being shown because it is now a rare film. In the company were tamara Toumanova, who later appeared in Days of Glory with Gregory Peck, Tonight we Sing with Ezio Pinza, and in Gene Kelly’s Invitation to the Dance Leonide Massine, who has since appeared in The Red Shoes and Tales of Hoffman and Igor Youskevitch, who is also in Invitation to the Dance. The Ballet Russe de Monte Carlo appeared in two 20-minute short subjects for Warners in 1942. At the time this film was released, the British Film Institute said: “These UPA productions repressent the liveliest departure in cartoon films for a long while, backgrounds and characters are freely conceived the colouring is bright, varied, but not garish, the draughtsmanship supple, and in this case, there is a delightful musical score by Gail Kubick.” He is found by a radio exectuive, who uses him to do sound effects in broadcasts. He is shunned by other boys and girls, expelled from school, and in desperation he runs away f rom home. Gerald McCloy discovers at the age of two that beyond uttering a noise like “Boing-Boing,” he cannot speak at all. This animated film was among the first of the UPA cartoons, and since its production the company has become world famous for its style, humour and artistry. This picture is an interesting experiment from the N.F.B., representing as it does a rare attempt at musical expression. The song closes sadly, for his sweetheart has left him. Grownup, he wanders through the park with his sweetheart. A mother brings her child to the park where he plays, swings and watches the ducks and gondolas glide on the stream. National Film Board of Canada, 1947, 7 mins.Ī lyrical camera study of Montreal’s great park, set to a French-Canadian song.
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