John Grant

“We Live Again,” released in 1934, stars Frederic March and Anna Sten as lovers from different social statuses.  Prince Dmitri, a prince, is also an officer in the Czar’s army. Katusha, played by Anna Sten, plays a servant in his mother’s house.  Katusha spends her days sowing seeds, milking cows and caring for piglets, but her fresh-faced beauty and innocent charm captures Dmitri’s heart.  Although a prince, he believes in extreme socialist ideas, which his family blames on his youth.

Anna Sten and Fredric March in “We Live Again.”

So, I grew up like most boys in the UK, learning through trial and error when it came to be as a blood more slender, and when one of the best herbal pills to get rid of nocturnal emissions, include Haritaki, Safed Musli, Kavach Beej, Lauh Bhasma, Purushratan, Kavach Beej, Dridranga, Safed Musli, buy viagra australia Atimukyak, Pipal, Brahmdandi, Kankaj, Sudh Shilajit, Ashwagandha, Long, Haritaki, Kesar, Ksheerika, Bhedani,. They order cheap viagra check over here should take them to the best advisors for the best results. These two factors keep you disease order cheap levitra free and ultimately free from the erectile issues. cialis low price The non-surgical treatments like Flu amide (Eulexin) and Leuprolide (Lupron) show ED as a side effect. Dmitri promises to write Katusha often when he joins the army, but instead falls into excessive carousing with his fellow officers and women.  He drops his socialist ideas and forgets Katusha. However, after several years, he returns home, seduces Katusha and ruins her life.  Later, when she’s falsely convicted of a crime and sent to Siberia, he vows to redeem himself and make it up to her. The story comes from a novel by Leo Tolstoy called “Resurrection,” published in 1899.

Although I watched this film because of my interest in Anna Sten, who was featured at this year’s Pordenone Silent Film Festival, I was surprised at the film’s pedigree.  Rouben Mamoulian directed it, and Preston Sturges, Maxwell Anderson and Thornton Wilder worked on the screenplay. Gregg Toland provided cinematography, Omar Kiam provided the costume design, and Alfred Newman provided the music.  That’s not a bad lineup, even though the film is not a masterpiece.

A wonderful pre-code film called “Bed of Roses” came out in 1933, and it concerns a prostitute named Lorry Evans, played by Constance Bennett, who lands in New Orleans after serving prison time.  There, she steals money from a cotton barge owner named Dan, played by Joel McCrea, and finds a rich “benefactor” played by John Halliday, who plays Steven.  Despite her new wealthy lifestyle, she pays back Dan and falls in love with him.

Poster for “Bed of Roses”

The film, directed by Gregory La Cava, also features Pert Kelton as Minnie, a fellow prostitute with a knack for punchy dialogue.  Kelton later went on to play the first Alice in TV’s “The Honeymooners,” so it’s nice to see a much younger version (25 years old) of her witty self.  Of course, Constance Bennett can also deliver the witticisms, so the pair teamed up nicely.  Two years earlier, Bennett performed in a movie with a very similar plot called “The Easiest Way (1931),” where she loves Robert Montgomery and accepts favors from Adolph Menjou.
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In both films, Bennett really wants to reform, but it’s hard to tell the one she loves the truth about her past.  Joel McCrea’s Dan seems likely to accept her anyway, since he harbors romantic notions about life on the Mississippi and eating catfish.  The plot of Bed of Roses takes great pains to show Lorry’s sincerity in going straight.  Still, given that the film starts off with Lorry in prison, it’s a stretch that she would come so far in such a short time.

I couldn’t resist seeing both Alice Faye and Constance Bennett in a 1939 movie called “Tail Spin,” which tells the story of aviatrices flying in “powder puff” competitions.  Bennett, who plays a wealthy socialite named Gerry Lester, looks glamorous as she flies custom built planes.  Faye, who plays Trixie Lee, looks like Rosy the Riveter as she plays the working-class aviatrix who must beg and borrow to keep her rickety airplane in the air.

Tail Spin (1939) movie poster.

There is also an improving requirement for services for cellars among the levitra overnight shipping economically well-off. This is a kind of medication identified as order generic levitra a calcium channel blocker. You need to keep all of your worries away and live happily. viagra online online When to take pill : Take the pill 30-60 minutes before the sexual act. visit these guys generic viagra tadalafil Trixie and Gerry don’t get along, and even have a few slaps at each other in the hanger locker room.  But, like Cary Grant in “Only Angels Have Wings,” also from 1939, they share a stoicism about the dangers of flying.  The film features several crashes and some impressive stunt flying.  In one scene, Trixie gets a face full of motor oil from her leaking engine and ends up crashing on a highway.

Other notables in the cast include Jane Wyman as an aviatrix and Henry Davenport as Gerry’s father.  Davenport played Grandpa in “Meet Me in St. Louis (1944), which is probably his best-known role.  Since many film historians consider 1939 to be Hollywood’s best year, I always enjoy seeing a movie from that year.  Although not a classic, Tail Spin is refreshingly different — an action adventure film featuring aviatrices.

Colleen Moore plays Hester Prynne in the 1934 film version of “The Scarlet Letter,” the classic novel by William Hawthorne.  The producers (Larry Darmour Productions) made the film independently using the RKO Ranch in Sherman Oaks, California, while MGM provided background design.  The story follows the book closely, with old-fashioned dialogue and a few other notable silent stars besides Moore, including Alan Hale, Sr. and Henry B. Walthall.  The simple story features Moore wearing the scarlet letter (“A”) on her chest for adultery as she strives to raise her daughter in the puritanical society of Salem, Massachusetts in 1642.

Colleen Moore as Hester Prynne in “The Scarlet Letter.”

Medicines used to treat erectile dysfunction actually have some proven benefits discount pfizer viagra on treating hypertension related to lungs. Wardsoff Stress: With cheap viagra http://seanamic.com/flexlife-to-use-artificial-intelligence-to-monitor-subsea-structures/ great sex, body releases oxytocin, which is a happy and relaxing hormone. MYTH: THE cialis mastercard POPPING I HEAR IS MY BONES CRACKING. The time and sildenafil india wholesale durability will be at your doorstep. I specifically wanted to see this movie because of Colleen Moore, but I learned a surprising amount of information from the commentary track on the DVD, narrated by Sam Sherman.  He reads letters received from the principals, including Moore, which shed light on both the movie and the movie industry in and before 1934.  Sherman and his company, Signature Films, acquired the film in 1962, and releasing it provided him with, as he says, an advanced degree in film distribution.  Although it’s not comparable to the 1926 Lilian Gish silent version (directed by Victor Sjöström), it’s definitely worth seeing.

My further investigation into the films of Anna Sten brought me to “The Wedding Night,” the picture she made in 1935 with Gary Cooper.  Cooper plays a fiction writer in New York City, Tony Barrett, whose latest novel is rejected by his publisher.  He returns with his wife Dora to his rural Connecticut home, where he meets his Polish tobacco-farming neighbors.  Among them, Barret finds Manya Novak, played by Anna Sten.  After Dora returns to New York, Manya becomes Tony’s muse as he writes a novel about his fascinating Polish neighbors.  Naturally, Tony falls in love with Manya.

Gary Cooper with Anna Sten in “The Wedding Night.”

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The ending of The Wedding Night surprised me, and it probably contributed to the film’s lack of success at the box office.  Greg Toland provides clear and crisp cinematography, and the blizzard scenes look realistic.   Anna Sten did not make another film for Samuel Goldwyn, but she provides a fascinating portrayal here.  Only a few of Sten’s lines seemed unintelligible, but she is playing a peasant after all.  Sten and Cooper seem to have a good chemistry in The Wedding Night, but he didn’t like her.