Kendra Steiner Editions (Bill Shute)

September 30, 2020

Tracy meets Svengoolie

Filed under: Uncategorized — kendrasteinereditions @ 6:08 am

Nice to see Dick Tracy together with his fellow Chicagoan Svengoolie in today’s Tracy strip….. You can access each day’s Dick Tracy strip for free at

September 29, 2020

“Conservation of Velázquez’s Portrait of Philip IV”

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If I could exist within the painted world of any artist, it would be the world of Diego Velázquez (1599-1660).

And what better way to get as “inside” that world as possible through a detailed study of the conservation of one of his most admired works, the “Portrait of Philip IV,” through this 2010 video from the Frick Collection You Tube channel. As the video’s introduction states, “The “Portrait of Philip IV” by Diego Rodríguez de Silva y Velázquez (1599-1660) returned recently from The Metropolitan Museum of Art, having been cleaned for the first time in more than sixty years. The gleaming silver brocade covering the king’s crimson coat is executed in an extraordinarily free and spontaneous manner, which is almost unparalleled in the painter’s production and can now be better appreciated. The treatment by Michael Gallagher, Sherman Fairchild Conservator in Charge of Paintings Conservation, revealed the dazzling original surface that had been veiled by a yellowing varnish. Additionally, the first technical studies of the painting were undertaken, involving microscopy, X-radiography, and infrared reflectography.”

Get INSIDE this fascinating painting and its meticulous conservation, below (running time 19:07)

September 27, 2020

making Red Eye Gravy with Cowboy Kent Rollins

Filed under: Uncategorized — kendrasteinereditions @ 12:16 am

I’d heard of red eye gravy while living in Oklahoma and might have been served it once in a visit to some small town, but when I moved to Southwest Virginia, I truly discovered it, as it’s a staple of Virginia cooking: country ham, grits, and red eye gravy (see pic).

An excellent how-to for making red eye gravy is provided by the always-entertaining Cowboy Kent Rollins. He uses regular ham as opposed to country ham, but since country ham is hard to find outside the Southeastern US, regular ham will do just fine. You’ll be hungry after watching this….

September 26, 2020

Sonny Stitt, Jazz At The Hi-Hat, Vol. 2

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Sonny Stitt (as, ts, bs),

Dean Earl (p), Bernie Griggs (b) and Marquis Foster (d).

Recorded live at the Hi-Hat in Boston on February 11th, 1954.

00:00 – 01 S.O.S. (Columbus Avenue Rhythm)

08:06 – 02 Rockin’ at the Hi-Hat

10:30 – 03 (Back Home Again In) Indiana

13:45 – 04 They Can’t Take That Away from Me 05 Lover

18:11 – 06 Flying Home

21:07 – 07 Mass Ave. Swing

23:37 – 08 They Say It’s Wonderful

25:48 – 09 One O’Clock Jump

38:10 – 10 Jeepers Creepers

42:28 – 11 Baritone Blues

46:30 – 12 How High the Moon

52:43 – 13 Body and Soul

56:37 – 16 If I Had You

58:37 – 15 Jumpin’ With Symphony Sid

September 25, 2020

Joseph McBride on the new HOPPER/WELLES film

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If you are not a regular reader of the WELLESNET website, the go-to resource for all things Orson Welles, you might not have seen the fascinating write-up on the new HOPPER/WELLES film by longtime Welles authority Joseph McBride (who has a role in Welles’ THE OTHER SIDE OF THE WIND). It’s well worth your reading time, whether or not you plan to seek out the HOPPER/WELLES film (which, I believe, will be available for streaming-for-a-fee soon, where you need to watch it within 24 hours). Reading McBride-on-Welles has always been a pleasure, even when you may disagree with his assessments (his characterization of Henry Jaglom had me laughing out loud–and clearly, he does not rate Hopper or THE LAST MOVIE as highly as I do). Here is a link to that article–take the time to read it….

September 24, 2020

Massimo Magee, online solo clarinet performance, Sunday 27 September

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Free jazz/sound art visionary and longtime KSE recording artist MASSIMO MAGEE will be doing an online solo clarinet performance this coming Sunday, Sept 27, at 11 a.m. US central time, 5 pm London UK time. Everything Magee does is an event, so don’t miss it. Access using the link below…. see you there!,469N

September 23, 2020

Chet Baker live in 1964 and 1979

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Live In Belgium 1964:

Flugelhorn, Vocal: Chet Baker
Alto Sax, Flute: Jacques Pelzer
Piano: Rene Urtreger
Bass: Luigi Trussardi
Drums: Franco Manzecchi

Song List:

  • Bye Bye Blackbird
  • Isn’t It Romantic
  • Airegin
  • Time After Time
  • So What

Live In Norway 1979:

Trumpet: Chet Baker
Vibraphone: Wolfgang Lackerschmid
Piano: Michel Graillier
Bass: Jean Louis Rassinfosse

Song List:

  • Interview
  • Blue Train
  • Softly, As In A Morning Sunrise
  • Five Years Ago
  • Love For Sale

September 22, 2020

NBC “Decision ’76” Theme (Henry Mancini)

Filed under: Uncategorized — kendrasteinereditions @ 12:44 am

Speaking of Henry Mancini (see yesterday’s GUNN post), NBC hired the Maestro to compose a theme for the network’s coverage of the 1976 presidential election (Gerald Ford vs Jimmy Carter, with Gene McCarthy running as an independent), which shows the great taste that someone in NBC’s news division had. 1976 was the Bicentennial year, and this piece of music could easily have been used as a key motif or a title theme had Mancini been commissioned to do a soundtrack for a feature film biography of Benjamin Franklin in that period.

According to Mancini discographers, it’s never been released on any HM album. Enjoy….

And for an encore, how about another Mancini commission by NBC….the unforgettable NBC MYSTERY MOVIE THEME, which was not only issued on an album but also covered by Percy Faith for one of his albums! The NBC Mystery Movie had a number of series in rotation, including Columbo (Peter Falk), Banacek (George Peppard), Hec Ramsey (Richard Boone), McCloud (Dennis Weaver), and McMillan and Wife (Rock Hudson and Susan Saint James), and this theme will be remembered by anyone who lived through that era. It has never been used on any of the re-plays of the individual shows, to my knowledge….

September 21, 2020

Henry Mancini, original soundtrack LP for “Gunn” (1967)

Filed under: Uncategorized — kendrasteinereditions @ 12:30 am

The 1958-61 television detective show PETER GUNN, starring Craig Stevens, created and produced by Blake Edwards, was a huge success, both with critics and the public, and still holds up today, with its studio-shot foggy and mysterious mean streets, the cool and powerful presence of star CRAIG STEVENS, and the key role of jazz in the show, both on-screen and on the soundtrack via Henry Mancini’s music.

When Blake Edwards decided to revive the Gunn franchise in 1967, with the first of a projected series of feature films (the promotional materials and the soundtrack album for the film called it GUNN…NUMBER ONE, suggesting there will be number two and number three, etc.), he offered the director’s chair to William Friedkin (a shame that didn’t happen!), which WF declined. The studio felt that Lola Albright, Stevens’ seductive co-star on the TV series, was too old to reprise her role (why not just make BOTH characters older? Craig Stevens clearly had aged too…), so that role was re-written and re-cast. Neither did Herschel Bernardi reprise his role as Lt. Jacobi, Gunn’s friend on the police force and a key element to the original show’s success. The 1967 GUNN did not do well at the box office or with critics, though it’s not bad and fans of the original show might enjoy it (I did) if you accept that it’s an older Gunn in a much-changed world that he doesn’t fully understand….and that looks NOTHING like his original black and white, foggy crime-jazz fantasy world.

One thing that was wonderful about the GUNN feature film was the soundtrack, one of Maestro Mancini’s finest jazz-inspired scores. The LP of this is not hard to find, but the brief CD appearances of the album in the 1990’s now go for big bucks. Unfortunately, the GUNN film has never been issued in any video format. Copies that circulate are from a pan-and-scan cable TV showing. Perhaps Kino-Lorber can remedy that and do a new release of the film, which would probably be well-received as this is something that’s been bashed for so long, viewers will see and appreciate its good qualities. If you’d like to HEAR one of its best qualities, here is the original soundtrack LP (in stereo) of Henry Mancini’s music for GUNN–NUMBER ONE, featuring Mancini’s A-team of jazz players, including Bud Shank, Shelly Manne, Plas Johnson, Jimmy Rowles, Bob Bain, Pete Candoli and Ray Brown. Enjoy!

September 20, 2020

Fabian in THUNDER ALLEY (1967), directed by Richard Rush

Filed under: Uncategorized — kendrasteinereditions @ 12:49 am

THUNDER ALLEY (1967, American International Pictures)

directed by Richard Rush


running time: 89 minutes

September 19, 2020

Beacon Theatre, NYC, 6 December 2019

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September 18, 2020

Elvis Presley, “Patch It Up (Take 9)”

Filed under: Uncategorized — kendrasteinereditions @ 10:46 am

RCA has just posted an advance track, an alternate take of the classic PATCH IT UP, from the forthcoming “From Elvis In Nashville” box set, recorded June 9, 1970, at RCA Studio B, Nashville. Take 8 is the released take….here is take 9.

September 14, 2020


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Charlton Comics was always a major force in western comics, having (in my opinion) the strongest offerings in the field and staying with westerns until Charlton’s final days (in the last years of the early-mid 80’s, via re-prints….they certainly had enough content in the can from all those 50’s and 60’s comics to pump out re-print material for decades, had Charlton not folded….after all, it’s not like westerns date). Charlton was always ready to stick the ALL-NEW tag on the BILLY THE KID comics from the 70’s that actually were new because people were so used to recycled material—it was an event when you did get something new!

Charlton had its share of licensed western titles based on characters/real people such as Lash LaRue and Tex Ritter, characters with a pre-sold audience. Characters who were historical figures, such as Billy The Kid, a Charlton mainstay for decades, were also popular, but did not require any payment to anyone as they were in the public domain. In 1955, the TV series with Hugh O’Brian THE LIFE AND LEGEND OF WYATT EARP premiered and became a smash hit, running six seasons and generating a massive amount of merchandizing. It’s still being re-run today, and although Hugh O’Brian did a lot of other things later in his career (a favorite of mine is the Harry Alan Towers-produced 1966 remake of Agatha Christie’s TEN LITTLE INDIANS, with an outlandish cast including Shirley Eaton and Fabian, a film perhaps best known for having a gimmicky “whodunit break” right before its climactic reveal), he was never really able to go beyond the Wyatt Earp identity in the public mind, something I’m sure he eventually came to terms with. Someone at Charlton had the brilliant idea of piggybacking on the success on that show without having to pay anyone a license fee because Wyatt Earp was a public domain historical character. Change the title a bit, create a depiction of Wyatt that echoes Hugh O’Brian without looking too much like him, and you’ve got a western comic book that can ride the coattails of the TV series without costing a cent for licensing. That’s the kind of thinking I admire (and which I admire in the so-called “mockbuster” straight-to-video films of recent years which have a title echoing a hit film but just different enough to avoid a lawsuit—I’m a huge fan of the productions of THE ASYLUM and other mini-studios working in that vein).

Fortunately, Charlton’s artists and writers brought their A-game to the Wyatt Earp comic book, which ran for 61 issues, from 1956 to 1967. The plots are not as outlandish as those given to Billy The Kid, as the Earp persona in popular culture (the real Earp is a subject for another article) was always the “gentleman gunfighter,” and that identity is respected in these stories. Also, although Wyatt is a marshal, he is able to travel, to assist friends, and to be hired by those who need him elsewhere, so the stories can be set in any number of different locales and situations. It’s not like, say, the 1930’s Bob Steele films (which I love) where at least half the time (or so it seems) Bob is out for revenge after his father is killed.

I’ve read this collection twice (I probably read some of these issues in original copies way back when too), and it holds up very well. One reason I am reviewing it here is that it would be a good example of western comics for someone not into western comics to read. The five issues here run from 1960-61 (and as the cut-off for Public Domain status in comics such as this, where the copyright was not renewed, is 1963, Gwandanaland could potentially issue at least two, if not three, more WYATT EARP volumes of PD material—I hope they will!), and that was a Golden Age for the western. Dozens of comics were being published, hundreds of paperback-original western novels were being churned out and actively consumed, and westerns were dominating the TV airwaves. The pacing of these stories is excellent, there are colorful and interesting antagonists/villains as well as supporting characters, and the scenes are framed in a way that brings to mind some late 50’s B-western starring, say, Audie Murphy or Rory Calhoun or George Montgomery (to name three actors who were still working in that vein in the late 1950’s). Earp’s character is not only mature and somewhat realistic, but he’s actually somewhat cerebral and complex, no doubt echoing the qualities that Charlton saw as attractive about the Earp TV show.

I am at work while they are on, but I notice that ME-TV is running something like four hours of old-school 50’s and 60’s western TV shows, in black and white, every weekday, for retirees to relive their childhood days of watching GUNSMOKE and WAGON TRAIN. Personally, I’ll take the comic books over those TV shows, but if you are in the mood for, as the cover puts it “GUN-QUICK WESTERN ACTION” that’s well-paced, well-written, well-drawn, and features an interesting and somewhat complex main character, Gwandanaland’s collections of Charlton’s WYATT EARP, FRONTIER MARSHAL are a great buy with clearly presented and sharp scans of the original pages. No recoloring of the originals here—it’s like getting mint copies of these on the newsstand the day they were released, but on quality paper and bound into a book that won’t yellow and “roll” as the original comic would.

NOTE: Gwandanaland has three earlier volumes of Charlton Wyatt Earp…..AND a collection of the Dell Wyatt Earp comics, where ARE directly based on the TV show and licensed (Dell liked to do licensed adaptations of TV properties) from the producers of the Hugh O’Brian TV series. I have not read those yet, but I’m sure I’ll get around to them. Until then, the Gwandanaland Charltons are waiting. And as they remind you at the top of nearly every page,CHARLTON COMICS GIVE YOU MORE!

September 11, 2020

TV Commercials featuring BUSTER KEATON

Filed under: Uncategorized — kendrasteinereditions @ 1:18 am

buster keaton

There’s not much I can say about the great BUSTER KEATON that has not been said before, and in any event, watching his work is more satisfying than reading about him.

Just the other day Mary Anne and I were watching his 1921 two-reeler THE GOAT (made 99 years ago!), and each year it seems there is some new restoration and Blu-Ray release of his silent work.

However, let’s also not forget his 35 years of quality work in sound films and television. Ever the professional, Keaton could adapt himself to any situation….in 1964, he was appearing in both AIP Beach Party films AND a Samuel Beckett art film.

buster keaton 2

I vaguely remember seeing Keaton in TV ads in the early 1960’s, and fortunately, copies of some of those ads are available online. Thanks to the folks at the “Retro Rabbit Ears” You Tube channel for compiling this 15-minute collection of classic Keaton television ads. Buster continued to work until his passing, and it’s nice to know that he continued to be popular and much-loved part of popular culture in his later years…..something that never stopped while he was alive and has grown considerably since his death.

Thank you, Buster Keaton, for making life more enjoyable and helping us forget about our problems….if only for the span of a TV commercial or comedy short.

buster keaton 3

Here it is….enjoy….

September 8, 2020

the pre-western Charles Starrett at Chesterfield Pictures (1933-1935)

Filed under: Uncategorized — kendrasteinereditions @ 1:32 am


charles starrett cowboy

Anyone vaguely familiar with pre-1960 films knows the name of Charles Starrett from his Western films—-he STARRED in 131 Western features for Columbia from 1935-1952, which is a record for a Western series for one studio. He always exemplified class and gravitas in his Westerns and was truly in a class of his own, best remembered for the many DURANGO KID films he made in the 1946-52 period at Columbia.

However, the Ivy League-educated Starrett, a native New Englander and football star at Dartmouth, was a superb horsemen through his polo playing, not from working on the range, and he did not originally set out to work in Western films.

In the early sound era, after some years of training on the stage, he entered the film industry and his talent and charisma was soon noticed, leading to a series of supporting roles in “A” pictures at major studios and leading roles in “B” features. He certainly had paid his dues by the time Columbia came calling for a new Western star.

Starrett made a number of films at the independent CHESTERFIELD PICTURES from 1933-1935 (I’ve written about Chesterfield earlier here on the KSE blog—-just do a search for the film GRIEF STREET), and three of those features were excellent murder mysteries, which I happened to own in the early days of VHS tapes in the 80’s, back when I maybe owned 20 video tapes, so I watched each one multiple times and I’ve grown to become quite attached to them. I still watch them maybe once a year. I’d already been a fan of Starrett’s from his Westerns, but I’ve now seen maybe 15 of his pre-Western films from the pre-1936 period, and I am a great admirer of his work. Had Westerns not come calling, who knows what direction Starrett’s career may have gone in….

I’ve included links for you to view those three 1933-1935 Starrett murder mysteries below, MURDER ON THE CAMPUS, GREEN EYES, and A SHOT IN THE DARK. Nothing satisfies at the end of a long work day like an escapist murder mystery, and Chesterfield Pictures made some of the best independent features in that vein. They often shot the films at Universal City, giving the settings a touch of class, and used the best directors found on poverty row (here we have RICHARD THORPE and CHARLES LAMONT, both of whom went on to do great work for decades at the majors). The 1930’s were perhaps the Golden Age of cinematic murder mysteries, so here you are with some classics, starring the great CHARLES STARRETT, each running under 70 minutes.

charles starrett cowboy 2


charles starrett

Charles Starrett in MURDER ON THE CAMPUS (1933)



murder on the campus





A SHOT IN THE DARK (1935) note: sound is a bit low on this, but you can still follow it well

Enjoy! And thank you, Charles Starrett, for your excellent and entertaining body of work!


September 6, 2020

introductory essay to the forthcoming collection of Edward D. Wood, Jr., non-fiction magazine pieces, WHEN THE TOPIC IS SEX (Bear Manor, 2021)

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Just completed a project I’ve been working on for the last few months that’s very important to me: the introductory essay for a forthcoming book of non-fiction adult-magazine pieces by EDWARD D. WOOD, JR., called WHEN THE TOPIC IS SEX, to be published in 2021 by Bear Manor. Great to work with Bob Blackburn, who did such a fine job with the previous EW collections, BLOOD SPATTERS QUICKLY and ANGORA FEVER. Very proud to be a part of this book!

Look for the book (and its excellent introductory essay!) in 2021….

September 5, 2020

rare early-sound Mack Sennett one-reel short “Strange Birds” (1930), with Marjorie Beebe

Filed under: Uncategorized — kendrasteinereditions @ 6:21 am

mack sennett 1

The great silent film comedy pioneer MACK SENNETT did move into the sound era in relatively good shape: with his own studio, a distribution network, huge name recognition and much public love, going back to the Keystone Kops era. As a producer, with a career running from 1911 through 1935, he has 1118 credits! Think about that number for a second….wow!

Sennett’s sound work is not that well-known. I had a number of his early-sound shorts on VHS tapes that I traded with other collectors in the 1980’s and early 1990’s, but of course, with each taping, you would lose a generation of quality, so in the trading world, you’d often be looking at a 3rd or 4th generation copy, making a lot of the shorts I viewed a bit murky and with muddy sound. What I could see and hear, though, was often quite odd. A number of the shorts were in color, and some had bizarre underwater sequences.

I have not seen any of those in decades and few the ones I owned have popped up on You Tube or elsewhere. Let’s hope that they surface in good quality….

However, here is a beautiful print of a fascinating Sennett short from 1930, from a series I’d never heard of, posted on You Tube by Geno’s House of Rare Films (you should subscribe to Geno’s You Tube channel, as there is a lot of first-rate and super-rare content there).

mack sennett 2

The “Mack Sennett Brevity” series (there’s one of them on Flicker Alley’s mutli-disc Sennett set, but I don’t own that, alas) seem to mix documenting of  real-world phenomena with some comedy added to the mix. A promotional blurb issued at the time about the series said that it would document “our sports, our hobbies, all our clouded interests.”

bird park

This one is a fascinating tour through Catalina Island’s Bird Park (see pic), and not only do we get beautiful sharp color photography of the birds (the Sennett-Color process has an interesting and appealing color palette), we get an informative commentary by tour guide Frank Eastman, given to our Sennett stock-company players, Luis Alberni and the wonderful comedienne Marjorie Beebe, on whom I’ve had a serious crush ever since seeing a lot of her work in the 1980’s.

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mack sennett 4


and now….thanks to Geno’s House of Rare Films, please enjoy the one-reel
“Mack Sennett Brevity” short, STRANGE BIRDS, released through Educational Pictures on 23 November 1930, with Marjorie Beebe, Luis Alberni, and as the “guide,” Frank Eastman.

I’d LOVE to see other early-sound Sennett shorts, particularly the color ones, in this kind of picture quality. A re-evaluation of this period in Sennett’s career is overdue. Yes, some of the shorts are more odd and clever than funny, but they always entertain. He did have a few mis-steps in the early 30’s (the feature HYPNOTIZED, for instance), but with hindsight, we can perhaps appreciate the work for what’s valuable and entertaining in it, rather than criticize it for what it is not (and probably did not intend to be). Certainly, the Sennett approach in the early sound era is unique….nothing at all like what was going on over at Hal Roach, for instance.

Settle back for about 10 minutes and enjoy a trip to the Catalina Island Bird Park, with the charming and witty presence of Marjorie Beebe, in Mack Sennett’s 1930 short STRANGE BIRDS….

September 2, 2020

check out ‘Scotty’s Elvis Presley Vinyl Reviews’

Filed under: Uncategorized — kendrasteinereditions @ 2:49 pm
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There are a lot of Elvis Presley podcasts and You Tube videos out there, and some of them are not that great, even to the Elvis fan. They are fannish in the bad sense, not that well-informed, dealing with gossip not the music, etc. There are some fine ones, though, and I’d like to introduce you to one that I treasure: Scotty’s Elvis Presley Vinyl Reviews, on You Tube. This  gentleman (and sometimes his brother) has a fine Elvis collection, is very knowledgeable about original pressings/RCA-BMG re-releases/FTD releases, etc., as well as the nuts and bolts of Elvis Presley’s body of work. He is respectful, passionate, and accurate. That’s what we need in the Elvis community!

So let me share the link for this video series. There are 45 episodes:

Rudolph Valentino in “The Married Virgin” (1918)

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valentino married 1

Rodolfo Di Valentino, aka RUDOLPH VALENTINO, certainly paid his dues as an actor before stardom beckoned. In the late 1910’s and through early 1920, he appeared in supporting roles in nearly two dozen films, and by the late teens, he was recognizable as a character actor, often stereotyped as a seductive European or Latin American playboys or gigolos or operators of one kind or another taking advantage of women with money and/or position. As the roles got bigger, he truly smoldered on the screen and surely when he was cast in his star-making role in FOUR HORSEMEN OF THE APOCALYPSE, released in 1921, these seductive supporting roles and their evidence of unique power he possessed as a film actor were what led to him getting that gig. The contemporary trade reviews of his supporting roles commented on how persuasive he was as a jaded European rake, on the make.

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In 2017 I wrote about another early Valentino film, STOLEN MOMENTS, and you can read that piece here:

valentino married 3

Like Stolen Moments, THE MARRIED VIRGIN was a film re-issued once Valentino became a star, highlighting his supporting role….although in the case of THE MARRIED VIRGIN, the film may not have even had a proper release when it was made in 1918. You can Google the film and read more about this, but it seems the original version was 7 reels and was exhibited to reviewers/exhibitors in 1918, but not released. It was re-edited in 1920, cut to 6 reels, and released under the names THE MARRIED VIRGIN and FRIVOLOUS WIVES. The latter had a great tagline, “a drama of a body and heart divided.”

valentino married 5

Valentino plays Count Roberto di San Fraccini, a character one perceptive IMDB Valentino fan describes as a “cabaret parasite,” which pretty much says it all. Although he eventually got tired of these stereotypical roles, he always gave the producers their money’s worth, and he certainly does here. Savor the master, RUDOLPH VALENTINO, working his magic in a low-budget potboiler prior to his superstar period. The film is a typical melodrama of the day, but it moves quickly and is relatively entertaining overall, but add Valentino to the formula, and it’s suddenly something worth your time….and only 70 minutes long.

Settle back, pretend you are seeing this at your neighborhood theater in 1920 after a long work week, ready for some romantic fantasy entertainment….

valentino married 4


made in 1918, reissued in 1920

directed by Joseph Maxwell


Vera Sisson …. Mary McMillan
Rudolph Valentino …. Count Roberto di San Fraccini (as Rodolfo di Valentini)
Frank Newburg …. Douglas McKee
Kathleen Kirkham …. Mrs. McMillan
Edward Jobson …. John McMillan
Lillian Leighton …. Anne Mullins, the Maid

NOTE: This film will look better seen on a laptop as opposed to a TV screen.


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