Director
John Ford (no acreditado)
Productor
John Ford
Guión
Gerald Beaumont, relato "The Lord's Referee"
Malcolm Stuart Boylan (intertítulos)
Gordon Rigby (guión) (as L.G. Rigby)
Fotografía
George Schneiderman
Arthur Edeson (no acreditado)
Cast
George O'Brien ... George Darcy
Janet Gaynor ... Rose Kelly
William Russell ... Big Tim Ryan
Margaret Livingston ... Mrs. Mary Rohan
Robert Edeson ... Chaplain Regan, aka Father Joe
Philip Ford ... Limpy Darcy (as Phillip Ford)
David Butler ... Nick 'Dizzy' Galvani
Lew Short ... Sergeant Kelly
Ralph Sipperly ... Slats 'Dip' Mulligan
Jerry Madden ... Baby Tom
Sinopsis
Waterfront rivals O'Brien and Russell are both in love with Gaynor and continue their feud when they join the Navy. After the war they call a temporary truce to take on dope peddlers who are destroying their neighborhood. Silent Ford film is an enjoyable mix of brawling action and roughhouse comedy that turns into a gritty gangster melodrama.
[quote]
A classic film by the director John Ford has been restored by the Library, with the help of other institutions.
In the past, most movies were regarded as ephemeral products and no attempt was made to save them when their ability to attract new ticket buyers faded. Silent films suffered a worse fate than the early "talkies," which at least have a television market.
More than 30 years ago, the Academy of Motion Picture Arts and Sciences (AMPAS) in Los Angeles held a tribute to the actor George O'Brien and asked him which films he wanted shown. One of the films that he asked for was Ford's "The Blue Eagle." It is not known what happened to the original negatives for the film, but many people believe they perished in a vault fire. "The Blue eagle" is a 1926 silent action drama by John Ford and starring Janet Gaynor. Ford is one of the most notable directors in film history, having directed such classics as "The Searchers," "The Grapes of Wrath," "Stagecoach" and "My Darling Clementine." Ford's silent films are less commonly shown, however.
20th Century Fox had only a single print of the film, with several large chunks lost to nitrate deterioration, and several remaining sections of the film were unviewable because of image loss. Fox loaned this nitrate print to the Academy for its tribute to O'Brien and donated it to the Academy after the event.
In an effort to save "The Blue Eagle," the Academy gave the print to the American Film Institute and the AFI preserved it in 16mm at a commercial lab in March 1970. The AFI did what it could but funds were severely limited; the result left much to be desired. However, without this preservation as a foundation, the Library's restoration would not have been possible.
I first saw "The Blue Eagle" at William K. Everson's Theodore Huff Memorial Film Society screening on April 6, 1970, and the last thing on my mind then was that, one day, I would help to restore it. At the time, Mr. Everson commented that the film was out of sequence. Further examination showed that some of the nitrate fragments were mislabeled during the AFI's preservation. Both the Library's and the AFI's 16mm prints had been resequenced, but the negatives were left as found. This little mistake would later come back to haunt us.
When the preservation was completed in 1970, the AFI stored the nitrate print at the Library. After the Library established its own preservation lab in the early 1970s, the surviving nitrate was again preserved in 35mm in 1976. The 35mm version was much shorter, because even more of the nitrate had "melted" in the interim.
In 1995 the Louis B. Mayer Foundation was attempting to restore all Janet Gaynor films. The AFI records indicated that in addition to the Library of Congress, the Cinémathèque Royale de Belgique and the Narodni Filmovy Archiv in Prague both had "Blue Eagle" footage. The Library was also aware of two anonymous collectors who had 16mm prints of this film. I had seen two of these 16mm prints and knew that they were not alike, so we assumed that it was at least possible to fully restore the film. The Library worked up a rough budget for the Mayer Foundation along with a "worst case scenario." Unfortunately, the worst case scenario turned out to be hopelessly optimistic.
The anonymous collectors' 16mm prints had all come from the same source, but because the prints were out of sequence, each collector had "corrected" his print in a different way. The Library borrowed the Belgium print and found that it had been duplicated from one of the collector's prints.
The Prague print was a different story. It had two of the seven reels, but more than half of the footage was unique, including the missing Janet Gaynor footage. However, the Czechs had changed the story and rearranged quite a few scenes, and the intertitles were all in Czech.
Thus there were several problems. The parts of the film in which the characters are introduced were missing from the other prints, and those scenes were out of sequence in the Czech material. With the exception of Rose (Janet Gaynor), almost no actors were addressed by name after the first two reels, and the copyright description was too vague to provide much clarification. Further complicating matters, the short story on which the movie was based bore almost no resemblance to the finished product and even used different character names.
In a process not unlike assembling a jigsaw puzzle, the Library resequenced all available prints and intertitles to construct as complete a restoration as possible.
The first two and a half reels have been reconstructed as well as possible (unless better material can be found), and the content of the last four and a half reels is exactly as it was when the film first left the Fox Studios. All scenes in which Janet Gaynor appears are now present.
The restoration-in-progress was previewed at the fall Cinesation in Michigan in 1997 before the Library actually assembled the new archival negative. The completed restoration was premiered at the Pordonone Film Festival in 1998. This restoration was then shown on the AMC cable network.
This film is not sufficiently restored for commercial release, yet if the Mayer Foundation and the Library had not preserved it, this beautiful example of John Ford's early work, in as near as possible to the original form, would remain lost.
James Cozart in Library of Congress [/quote]
Código: Seleccionar todo
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Un último lanzamiento antes de que me vaya de vacaciones en unos días (
) ). Tal vez hoy la velocidad de transmisión de la mula sea muy limitada, pero mañana estará a pleno rendimiento, así que no os preocupéis que todos los interesados accederán a ella. Janet Gainor y George O´Brien pasarán a la leyenda cinematográfica por su interpretación bajo las órdenes de F.W. Murnau en Sunrise. Pero un año antes, Mr. John Ford los dirige magistralmente en esta dramática película, que se ha conservado y restaurado gracias a la Library of Congress (de ahí ese rollaco en inglés, más arriba) (
)
The blue eagle (John Ford, 1926).avi 
