A pictorial history of the movies (1943)

Record Details:

Title:
A pictorial history of the movies
Date:
1943
Publisher:
New York : Simon and Schuster
Volume:
A pictorial history of the movies
Leaf #:
000303
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

MODERN TIMES (1936) 289 By this time, Shirley Temple was a veteran picture star, with a following of faithful admirers that numbered millions. The child's uncanny charm was admirably exploited in The Little Colonel, made in 1935. This is the famous scene where she dances downstairs with the great hoofer, Bill "Bojangles" Robinson. BELOW Came 1936, and with it the first Chaplin picture in five years. Again Charlie stuck to his guns and presented a picture in which— except for one sequence of unintelligible jargon-he and the rest of the cast remained silent. For a lesser artist the risk might have been fatal, but to his fans Chaplin could do no wrong. Modern Times was a tremendous success. This scene gives a good idea of the weird settings for this machine-age picture. The figure at the left is Chaplin's old coworker from the Mack Sennett days, Chester Conklin. ABOVE RIGHT The plot utilized the basic Chaplin formula-the picked-on little man befriending a waif who is worse off than he. This time the waif was Paulette Goddard, a newcomer to pictures and' one of his discoveries. Here is Miss Goddard in one of the dancehall sequences.