kitparkerfilms

Posts Tagged ‘“Kit Parker Films”

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The click that put www.sprocketvault.com online

We’ve been so busy with creating our new company, working the bugs out, and setting up our Amazon store (it would have helped if I spoke Tagalog and Hindi) that it took us months to produce our website. No excuses other than we just wanted to do it right. Websites are always a work in progress, so let me know what could be improved.

Although the majority of releases are movies to which I own all rights, we are working on a release schedule of hard-to-find movies from other producers. Be sure to subscribe to our newsletter (bottom of our home page), visit and “like” our Facebook page, and subscribe to our YouTube Channel.

Facebook: www.facebook.com/sprocketvault/

YouTube: www.youtube.com/channel/UCLHjjG-o5Ny5BDykgVBzdrQ

OK, with the website crossed off my to-do list, it’s now time to get to work setting up new releases!

More later…

P.S. Thanks to our webmaster, Wendall Williams of Provido LLC, and graphic artist Missy Koskey for making the website a reality.

 

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One activity that is particularly satisfying to me is making available a beautiful video version of a favorite film. Even better is to couple it with an excellent commentary track. Both are the case with “When Comedy Was King” and easier said than done.

In 1958, I saw “The Golden Age of Comedy,” Robert Youngson’s masterful silent comedy compilation at the Hill Theatre in Monterey, California – laughed until my sides hurt. I’d go so far as to say Kit Parker Films would never exist, certainly not in the form it has, had it not been for that night in 1958 as this turned me into a silent comedy buff overnight and inspired me to collect 8mm (later, 16mm) prints of silent comedies from the legendary Blackhawk Films.

Two years later “When Comedy Was King” also by Youngson, was released.   This time I saw it at the State Theatre in Monterey, and it was just as funny as its predecessor! Saw it many times later in 16mm, television, VHS and DVD, all lacking the vibrancy of the 35mm presentation at the State.

Earlier this year I contacted Sonar Entertainment, owner of WCWK, and made a deal to acquire DVD rights. Then came the time to examine the film elements: What a mess! A reel of this, a reel of something else, and the quality ranged from poor to marginal. Then, finally, Sonar’s ever-helpful Maura Grady sent us 9 cans of film, which weren’t properly labelled; they turned out to the original negative!

Our film-to-digital maestro, Doug Horst, did a masterful high definition transfer, and we were off and running. There were still several issues to work out, but they weren’t insurmountable, just time consuming: The images were a checkerboard of light scenes and dark scenes, endemic in working with original negatives. However, fortunately Tiffany Clayton, always up for a technical challenge, “timed” (the industry term for adjusting light and dark scenes) and did other digital clean up as well. Our HD transfer captured more image on the sides that had ever been seen on a video or television release. The only other issue was lack of a sound track, so Tiffany sweetened up the track from an older video release and synced it perfectly.

Next up, I wanted to provide a commentary track. Film historian, author, filmmaker and raconteur Richard M Roberts was up for it, and as my vote for Dean of Silent Comedy, he was the perfect person for the job. Richard was also influenced by the works of Robert Youngson as well, and created a commentary that intermixed his insight on the comedies themselves along with their performers, directors and producers. He also interspersed a long overdue biographical tribute to Robert Youngson himself. I asked Richard if he would allow us to use three rare comedies from his personal collection as a special feature. He agreed, but insisted they have a musical accompaniment, the cost of which would put an already over budget project further into the red. When it comes to quality, Richard doesn’t negotiate, so I bit the bullet and retained Donald Sosin, a leading silent movie composer. Glad I did.

You can buy it today for $14.99 exclusively from Amazon: http://www.amazon.com/dp/B01MFX85QA

THE SPROCKET VAULT presents the restored high definition video release of Academy Award-winning Documentarian ROBERT YOUNGSON’s wonderful 1960 Comedy Compilation WHEN COMEDY WAS KING which showcased some of the funniest comedy scenes by famous comedians of the Silent Era, including Laurel and Hardy, Charlie Chaplin, Buster Keaton, Harry Langdon, Ben Turpin, and two of the great silent comedy producers, Mack Sennett and Hal Roach.

Remastered from the original 35mm negative and presented in its original full edge-to-edge 1:33 theatrical aspect ratio, audiences can once again enjoy classic comedy sequences from films like BIG BUSINESS (1929) with Laurel and Hardy, COPS (1922) with Buster Keaton, the only surviving footage from Harry Langdon’s THE FIRST HUNDRED YEARS (1924) and the other classic comedies. Thanks to Robert Youngson’s perseverance, the film source material of most of the comedies originated primarily from the sparking clear original camera negatives, not the jerky, flickery fourth generation copies that are so often shown.

THE SPROCKET VAULT’s new DVD release of WHEN COMEDY WAS KING features a commentary track by noted film historian, author, filmmaker and raconteur RICHARD M. ROBERTS, who provides fascinating facts and historical information on the comedy classics showcased. He also pays tribute to WHEN COMEDY WAS KING’s producer Robert Youngson, revealing his story and his important contribution to bringing these films out of obscurity and back to the attention of the film history community and general audiences alike.

As an extra bonus, Mr. Roberts graciously allowed TSV permission to showcase three complete, rare, wild and crazy silent comedies from his own large collection of early film. For the first time in over 90 years audiences can get a taste of undeservedly forgotten names from the hundreds of comedians making films in the Comedy Film Industry of the Silent Era: Hughey Mack and Dot Farley in AN ELEPHANT ON HIS HANDS (1920), Lige Conley in the frenzied FAST AND FURIOUS (1924), and the politically-incorrect Three Fatties (Frank Alexander, Hilliard Karr and Kewpie Ross) in the deliriously destructive Ton of Fun comedy HEAVY LOVE (1926), all featuring commentary by Mr. Roberts, and a new musical accompaniment by one of the leading silent film composers, Donald Sosin.

 

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My father was an avid 8mm home movie maker. He also owned a collection of various Castle Films, and one from Hollywood Film Enterprises, “Buzz Saw Battle,” a 50’ excerpt from the Mickey Mouse cartoon, “The Dognapper” (Disney-UA/1934), which was a real let-down because it ended right in the middle of action.  [Above: Original pencil sketch from “The Dognapper,” which hangs on my office wall.]

 

hfe disney ad 1933

 

In response to my previous blog, “The Actress Is,” which featured a Louis Weiss Co. (successor to Weiss Brothers-Artclass Pictures) home movie catalog, collector Jeff Missinne was kind enough to forward a Hollywood Film Enterprises home movie catalog from around the early 1950s. It was photocopied years ago, so the quality isn’t great.

 

 

hfe page 1

 

Jeff Missinne also gave me the following information which he has allowed me to share with you.

Hollywood Film Enterprises had four Laurel and Hardy reels: Three 400′ sound editions and one 100′ silent (“Three’s a Crowd,” the phone booth scene with Jack Norton), all from “Our Relations.”  I own prints of the sound reels and, oddly, a 100-foot dialogue sequence of the two women ordering dinner in the restaurant is repeated in two of them (“Mistaken Identity” and “Sailor’s Downfall”) while the phone booth scene isn’t in any of the sound editions!

 

hfe page 2

 

I just acquired three of the Patsy Kelly shorts but haven’t screened them yet, they are spliced together and only the first one has a main title, so I have to figure out which ones the other two are.  (Six shorts from one feature; five sound and one 100′ silent, that has to be some kind of record!)  Don’t know how many “Grandpop Monkeys” were sold, but check out that bizarre list of sizes…100′ sound “headline” versions.

 

hfe page 3

 

I asked Jeff for an approximate year of the catalog and he responded further:

 

Afraid I can’t pin down an exact date, but would say it is somewhere in the early to mid- 1950’s.  By then they had gone through the phase when they merged with another company and were briefly known as Carmel-Hollywood Films; some of the Gene Autry reels came from that period; and this was before they began offering color Disney cartoons in 8mm.  (They were edited to 100 feet each, same as the AAP Warner cartoons.)

 

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I went thru my paper files and found my letters from Wally Shidler of HFE, but no further info on dates, etc. Shidler’s letter stated that HFE’s relationship with Walt Disney ended around 1960, but I have some reason to believe it may have lasted a little longer, as they were offering 8mm Eastmancolor prints of Disney cartoons and Disneyland travelogues, and I’m not sure if Eastmancolor was commonly used for 8mm printing until after 1960.  Most if not all earlier color prints I’ve seen were Kodachrome or Anscochrome.  It certainly ended though when Disney decided to open their own 8mm division in the mid-60s.  Wally stated that HFE was primarily a lab, and the home movies were just a way to keep the place busy between outside orders.   (I am fairly sure Eastmancolor was being used for 16mm printing by 1960, but maybe not 8mm yet.  (For example, when Castle started offering 8mm cartoons and travelogues in color in the late 50’s, they were Kodachrome; and I know a collector who at least claims to own some 8mm AAP cartoons on Anscochrome.)

 

hfe page 5

 

HFE existed before Castle Films.  They were making home movie subjects at least as early as 1930, maybe even before then; Eugene Castle didn’t enter the home movie field until 1937-38, though he was making 16mm and 35mm industrial films before then.  So apparently either HFE approached Disney or the other way, and they were releasing his cartoons as early as 1933.  Disney was apparently satisfied with the deal as it was renewed over and over for decades.

 

hfe page 6

 

At one time or another HFE also had Walter Lantz’s “Oswald” and “Meany, Miny & Moe” cartoons, though only in 50′ 8mm and 100′ 16mm silent toy projector lengths (I don’t know if their deal was with Lantz himself or Universal) and some of the Harman-Ising MGM cartoons in full length 16mm sound editions.  When Universal bought out Castle Films, HFE lost the Lantz rights, and Castle then offered the cartoons in a complete range of silent and sound versions.

 

grandpop monkey box

Jeff –  Thanks a million for providing the catalog, and especially your comments! — Kit

 

Footnotes:

[Jeff] —

“Grandpop Monkey” was based on cover illustrations by an artist named Lawson Wood that ran in Collier’s magazine.  The animated versions were made by Cartoon Films, Ltd. which had been the Ub Iwerks studio.  They were backed by British money and may have been made to run there first (not sure.)  Monogram Pictures (!) released them theatrically in the US.  The 3 titles HFE had were the only ones made, and were produced and released in Cinecolor in 1940.

One of the weirdest color films I have is an 8mm Ub Iwerks cartoon in original Cinecolor.  I like Cinecolor, especially for cartoons, where it gives a sort of “old Sunday funnies” effect.  Cinecolor’s color registration was very good in 35mm, not bad in 16mm, but by the time you get down to that tiny regular-8 frame it looks like a failed anaglyph 3-D image!

[Kit] –

Weiss licensed Hollywood Film Enterprises the rights to create home movie versions from some of its silent films. Weiss-Artclass Tarzan serial cut-downs were sold as “Tarzan of the Apes”; B-westerns in which Jean Arthur had a supporting role became “Jean Arthur Westerns,” and “Bible Stories,” were adapted from the 1920 Italian epic, “La Bibbia,” which Weiss-Artclass had released in truncated form in 1922 as “After Six Days.”

My family had some 8mm Ub Iwerks Cinecolor prints: “Sinbad the Sailor,” “Little Black Sambo,” and “Pin-Cushionman” (retitle of “Balloon Land”), all 1935. As with Jeff, I was enamored by the color.  The box art, “Fun Cartoons in Color,” was cool, too.

 

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Retire?

No way…I’m still finding too many interesting movies to release on DVD/Blu-ray.

Hard to believe Kit Parker Films is fast approaching its 50th year in the distribution of classic motion pictures! Back in 1971 the 16mm non-theatrical industry was thriving, but it was largely owned by corporations which were passionate about money, but dispassionate about films, and the quality of the film prints showed it. I saw a niche to be filled — renting out quality prints at affordable prices, and Kit Parker Films was born.

The 16mm library expanded throughout the years until home video made inroads into the industry — the quality of VHS was marginal at best, but the price was right. By the 90s I branched out into the 35mm theatrical arena, eventually becoming the go-to source for classics in that film format.

In the late 1990s I realized the days of projecting celluloid were going to be replaced by DVDs, so slowly phased out the “old” KPF, and in 2001 began purchasing the copyrights to vintage films. Over the next 15 years my collection grew to include hundreds of feature films, television programs, serials and shorts.   Many of my acquisitions required a great degree of patience and detective work to clear rights and locate suitable film elements, but those efforts unearthed many films that had seen little or no exposure for decades.

Originally “The Sprocket Vault” was created a sales division to sell my own DVD/Blu-rays through our distributor, Music Video Distributors (MVD).  Other producers have started approaching me to sell their movies…so my company is growing, and that means lots of new releases of interest for you.

 

I WANT YOU…

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OK, finally got enough requests to convince VCI release these two on DVD!

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During the 1940’s – early 1950s before television killed “B” movies, army comedies, musicals (MGM or Monogram…didn’t matter,) themes about Tinsel town, and of course westerns, were guaranteed hits in small town and rural America.

 

Producer/distributor/exhibitor, Robert L. Lippert, decided to combine the genres for sure-fire hits.  He did, and they were.

 

“G.I. JANE”, is a musical-comedy taking place at an army camp starring Jean Porter (sorry, not Demi Moore,) Tom Neal (Hollywood’s real-life bad-boy), Iris Adrian, Jimmie Dodd (“Jimmie” from the “Mickey Mouse Club,) and Jeanne Mahoney, with direction by B-movie stalwart Reginald LeBorg.

 

At a remote Army training camp in the desert, our boys in uniform want to do more than wave at the WAC’s, and a new recruit bets them $500 he can make this happen. A stern female lieutenant makes things tough but eventually it’s Mission Accomplished, the barracks filled with beauties and ballads.

 

“I Love Girls,” “Line-up and Sign-up in the Army Corps,” and “Nervous in the Service,” are a sampling of the musical numbers.

 

“GRAND CANYON,” a comedy with two songs (“Love Time in Grand Canyon” and “Serenade to a Mule”!) about Hollywood producers filming a western, staring Richard Arlen, Mary Beth Hughes, Reed Hadley, James Millican, Olin Howlin, Grady Sutton, and Joyce Compton, with Paul Landres in the director’s seat.

 

There’s grand fun, grand feudin’ and grand fightin’ in this spoof on low-budget Hollywood moviemaking. Assigned by Robert L. Lippert (who appears as himself in a pre-title sequence) to make a Western on indoor sets, Reed Hadley farcically tries and fails, and finally convinces the front office to allow him to shoot on “location.”  Rural audiences howled when an Arizona cowboy showed them Hollywood types a thing or two about acting, and ends up with the starring role!

 

Here’s where the filmflimflam comes in:

 

The advertising claims the movie was filmed at the Grand Canyon, and a prologue to the movie even thanks the Department of the Interior for its cooperation.   Sure, the exteriors are, but the scenes with actors, most of the movie, are filmed on sets, against process shots, or in a familiar location spot near L.A.…but who’d go see a movie called “Bronson Canyon?”   There are a couple of scenes with “actors” filmed on location, but are in reality stand-ins, shot in such a way that the audience couldn’t tell.

 

The fight scene featured in “Mike’s” dream was taken from “The Return of Wildfire,” another Arlen/Lippert film. Arlen’s opponent in the fight is Reed Hadley, his “director” in “Grand Canyon.”*

 

Viewed today, these movies are fun to watch, but remember they were made for the Princess Theatre in Meredosia, Illinois, not the Radio City Music Hall.

 

*Thank you Bob Dickson for this tidbit.

 

Order DVD on Amazon:  http://www.amazon.com/dp/B00OHLR7HW

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Contact:  kit@kitparker.com

 

 

 

tall lie

 

The subject was “hazing,” and no studio would touch it…

 

Paul Henreid (“Casablanca”) wanted a hard-hitting exposé of a problem he felt needed to be addressed…hazing.  He pitched it to the studios, and each time was met with an emphatic “No.”  So he financed, produced, directed, and starred in it.  When he screened the completed picture for the studios it was the same story…none would touch it.  With his options and money running out, he sold the movie outright to producer/distributor, Robert L. Lippert, known for small-town, family-friendly B movies, the exact opposite of “The Tall Lie.”  Lippert also released it under the more familiar title “For Men Only.”  Although the small towns were shocked by it, business was brisk in college towns.

 

“Tod” (Robert Sherman), a gentle pledge is forced to swim in freezing water until he almost drowns…and that’s before the main titles even start!  In his screen debut, Russell Johnson, beloved captain of “Gilligan’s Island,” plays “Ky,” the sadistic president of the fraternity.  Vera Miles (“Psycho”), also in her first film, appears as Tod’s girlfriend.  Tod’s grades plummet because of the unrelenting abuse.  His professor, played by Henreid, takes notice and ponders whether hazing and the forthcoming “Hell Night” might have something to do with it.  Nonetheless, he recommends that Tod’s mother sign a release to let her son take part in the final initiation.  Big mistake.

 

“Hell Night,” the fraternity initiation of all initiations, starts off with the relatively tame ripping of the pledges’ clothes and painting their faces.  Then comes the final initiation…shoot a puppy; this is 1952!  (His friend “Beanie” (James Dobson) wants to be inducted into the fraternity so bad he stoops to drinking blood drawn from a live puppy. Although Tod refuses, he is subsequently ostracized, hounded to his death as a coward.    This prompts Henreid to push for an investigation and reforms, but is met with resistance and organized destruction of evidence, supported by college administrators and past pledges, bent on saving the good name of the college.

 

Censorship was an issue.  Various state censor boards objected, but the distributors emphasized that it was an “exposé” and “educational,” an argument that generally had positive results.  Then there was the UK where animal cruelty, real or implied, was strictly prohibited.  Exclusive (Hammer) Films, the distributor throughout England, managed to get the picture passed without cuts by adding a lengthy written prologue (included in the DVD) revealing the evils of hazing.

 

Order the DVD from Amazon: http://www.amazon.com/dp/B00OHLR53S

 

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Al Parker #101152015

 

“I was born to ride…”

In 1953 Robert L. Lippert commissioned a feature film to be directed by noted film editor, Elmo Williams (Academy Award winner for “High Noon”), who is still alive at 102.  It was to star Lloyd Bridges, Lee J. Cobb, Marie Windsor and Luther Adler.  Lippert, always interested in getting talent to work cheap, got three of the stars at a bargain rate because they were HUAC-tainted, and needed work.

Production commenced in Deming, New Mexico, and local real-deal cowboys were retained as wranglers.  Among them, L.B. “Beau” Johnson, Robert Johnson, Ross May and Darrell Hawkins.

Both Williams and his wife, Lorraine, were fascinated by the cowboys who worked on the picture, and she envisioned a full-length documentary about cowboy life featuring the same cowboys who worked in “The Tall Texan.”  The estimated budget was around $50,000 (under $500,000 in 2014 dollars), low because there was no need to pay for stars, sets or sync sound.  The meager budget, even by Lippert standards, may account for why the penurious producer sprung for filming in color.

Both movies turned out very well, and made money.  “The Cowboy” was particularly successful in the Southwest.  Later, when it was released in 16mm, it became a perennial favorite at Indian reservations.

In 2004 I purchased the Lippert film library, and envisioned a DVD release of “The Cowboy” with the usual special features VCI Entertainment and I specialize in.  But, what special features could I come up with?

Later on I got a phone call from Bridget Kelly who worked with filmmakers in New Mexico, asking if the movie could be shown to an audience in Deming.  Of course I said yes, and inquired if she knew what became of the cowboys.  She replied that four of them were coming to the screening!

A commentary track featuring the actual cowboys looking at the movie a half-century later…yessss!

It was arranged to get them together for a recording session.  My wife, Donna, and I went to Deming and awaited the cowboys.  The first one, Beau Johnson, arrived with his wife in an old car that didn’t look as if it had been through a car wash in 15 years; papers all over the dash, license plate hanging on for dear life. There he was, complete with faded Wrangler’s, old boots, sweat-stained hat, and a big silver buckle, speaking authentic “cowboy,” of course.  Was he ever a warm and wonderful character.  His passion was race horses, and he owned them…why bother with a new car when you own championship horses?  Next came Beau’s brother, Robert, Ross May and finally Darrell Hawkins, great guys all.  Hawkins even gave me a lesson on trick roping.

I had prepared for the recording session with lots of notes and questions to toss out to keep the guys talking throughout, hoping they’d make comments about what was occurring on the screen without much prompting from me.  We rolled tape and Ross May, who had retired as a school teacher, took the lead as moderator…he was a natural…knew just how to keep everyone going as if he’d done it a thousand times.  Tossed my notes in the garbage…didn’t need ‘em.

The result was great…a group of engaging old-timers reminiscing, often humorously, and with cowboy jargon, about an era that has, for all intents and purposes, long since passed.

 

Donna and I recently got a call out of the blue from Beau Johnson.  Hadn’t spoken with him for many years although I had thought about him.  He had been in the hospital, and I guess had survived a couple of brushes with death.  His brother, Robert, is fine, but Ross and Hawkins are gone.  Beau, still his jovial self, told us how much our friendship meant to him, which was totally unexpected, and touched us very much.   He said he even kept a ribbon from a bottle of wine Donna gave him.   Beau had another reason to call…a favor…asked if we’d call Elmo Williams and wish him a happy 103rd birthday.  (It isn’t until next year, but we’ll be sure to call).

When we signed off, Beau told me he was born to ride a horse, and I told him “The Cowboy” commentary was the most fun I’ve ever had producing a special feature.

 

COWBOY, THE

 

Additional DVD bonus features:

“The Making of The Cowboy” by Elmo Williams

Video booklet

“Ghost Towns of the Old West – the Deserts” narrated by Rip Torn

 

Photos:

Top: Beau and Robert Johnson from “The Cowboy”

DVD cover:  Beau Johnson

Order DVD on Amazon: http://www.amazon.com/dp/B00TZF2I56

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Sins

The following movies were eventually released on good quality DVD’s:

 

APACHE RIFLES (Admiral-Fox/1964)

Picture and sound track were a jumbled mess. Technician at VCI eventually matched everything up.  (I still owe someone a steak dinner!)

 

THE COWBOY (Lippert/1954)

35mm color negative ruined by mold. Used 16mm color “EK” (print from the original color negative) for the DVD.  Black and white duplicate negative and color “separation negatives” survive.  BTW, I had a blast producing the commentary track with the authentic old cowboys who were the stars of the film.

 

THE GLASS TOMB (Hammer-Lippert/1955)

Original 35mm material missing. Used 35mm release print borrowed from the British Film Archive

 

THE GREAT JESSE JAMES RAID (Lippert/1954)

35mm color material missing. Used a 16mm color “EK.” 35mm black and white negative survives.

 

LIKE IT IS (Psychedelic Fever) (Lima/1968)

Missing sound track. Used audio from a bootleg VHS bought on eBay.  Sometimes pirates serve a useful purpose!

 

MAN BEAST (API/1956)

Master 35mm material was cut for release in the UK and the excised scenes scrapped. Used missing footage found in a 35mm US release print.  Scenes that were deleted prior to its US theatrical release were found in a Spanish dubbed print and are included as a Special Feature on the DVD.

 

MASSACRE (Lippert-Fox/1956)

Color camera negative survived – without titles. Used titles off a like-new 1956 16mm color print I bought from a collector on eBay.  Not the first time a film collector has saved the day.

 

MONSTER FROM THE OCEAN FLOOR (Palo Alto-Lippert/1954)

35mm sound track decomposed. Used track from 16mm Armed Forces negative, which was longer than the theatrical release version. Extra scenes are part of the DVD special features.

 

MR. DISTRICT ATTORNEY (Republic/1941)

Nitrate picture and track negative decomposed. Used a “fine grain” master print borrowed from the British Film Institute

 

OUTLAW WOMEN (Howco/1952)

Original 35mm Cinecolor material decomposed. Used mint 35mm Cinecolor print

 

SEA DEVILS (Coronado-RKO/1953)

Combined 3-strip Technicolor negatives located at Technicolour in London and restored by Canal+, owner of Eastern Hemisphere distribution rights.

 

SHOTGUN (Champion-Allied Artists/1955)

Badly faded camera negative was all that survived. VCI technician was able to bring the color back to life in a tedious process of correcting the color scene by scene. (Another steak dinner, this one due Doug at Film and Video Transfers)

 

SINS OF JEZEBEL (Lippert/1954)

Original 35mm color negative missing. Used mint 35mm AnscoColor print labeled “Roadshow Version”.  Could find no difference between the Roadshow and Regular release; not surprising given its penurious producer, Robert L. Lippert.   Note:  Fortunately AnscoColor, unlike widely used Eastman Color, does not tend to fade.

 

STRANGER ON HORSEBACK (Goldstein-UA/1955)

No color film elements known to exist. Used 35mm AnscoColor release print borrowed from the British Film Institute.  16mm black and white negative survives.

 

THUNDER IN CAROLINA (Howco/1962)

As with “Apache Rifles,” picture and sound track were a jumbled mess. Technician at VCI eventually matched everything up.  (Guess I owe three steak dinners.)

To order on DVD, visit our site –

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There are movies which Kit Parker Films owns rights but cannot find suitable elements.  Maybe you can help!

 

“God’s Country” (Lippert/1946)

Original Cinecolor nitrate negative decomposed in the 1960s. 35mm and 16mm black and white duplicate negative and sound track survive.

 

“Highway 13” (Lippert/1948)

Not really missing, but we had to use the 16mm negative which was less than optimal.  I was told not to bother because the whole movie took less than 3 days to produce but, hey, it’s a mini-masterpiece!

 

“Rawhide Trail” (Terry and Lyon-Allied Artists/1958)

Nothing at all. The Allied Artists library was split between Warner Bros. and Paramount years ago, but this independent production was not among them.

 

“Mr. District Attorney in the Carter Case” (Republic/1941)

Nitrate negative decomposed. Not released to television so no duplicate negatives produced.

 

“The Incredible Face of Dr. B”

and “House of Frights”

Mexican films from 1963 that were also released in English language versions. Although the Spanish negatives survive, the English versions apparently do not.

 

“Let’s Live Again” (Seltzer-Fox/1948)

Only a mediocre 16mm negative and print survive.

 

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30 Margia Glam 2 (2)

“I’d like to see a big star shoot a movie with no retakes.”  — Margia Dean

 

Margia (pron. Mar-Juh) Dean was born Marguerite Louise Skliris to Greek parents in Chicago on April 7, 1922.

 

Her hair is now white, but her charm, sophistication and sense of humor haven’t changed since the heyday of her film career.

 

By age seven she was earning money as a stage actress, playing Little Eva in “Uncle Tom’s Cabin,” Becky Thatcher in “Tom Sawyer,” Mytle in “The Blue Bird,” and winning scholarships in two dramatic schools.  In 1937, she won the Women’s National Shakespeare Contest for her role as Juliet in the production of “Romeo and Juliet.”

 

Margia became a model, and was named “Miss San Francisco,” “Miss California,” and a runner-up in the 1939 “Miss America Pageant” where she won first prize in the talent category for a dramatic reading (still has the trophy!)  She appeared in several films in small roles and, played Police Officer Mary Faelb in the 1950 ABC TV series, “Dick Tracy,” had a featured role in the Columbia serial, “The Desert Hawk” (1944), and was Andy Clyde’s foil in “Love’s A-Poppin” (Columbia/1953).

 

In 1945, Margia scored the second lead in the stage version of Victor Herbert musical “The Only Girl,” which played at the then prestigious Biltmore Theater in Los Angeles.  She received terrific reviews. Alfred Hitchcock came backstage and offered her a featured role in “Notorious” (Vanguard-RKO/1946), but she couldn’t accept due to a run of the play contract which necessitated her going on the road for several months.

 

In 1947, Margia’s controversial agent, Frank Orsatti, secured her a bit role in the Gene Kelly M-G-M musical, “Living in a Big Way” (1947).  Orsatti convinced studio chief, Louis B. Mayer, to sign Margia to a contract.  Unfortunately, Orsatti dropped dead of a heart attack the day of the appointment!

 

Margia was introduced to exhibitor and B-movie producer, Robert L. Lippert, in 1948 by a mutual producer-friend.  Lippert gave her the female lead in “Shep Comes Home” (Screen Guild/1948.)

 

Subsequently, she appeared in a series of low-budget Lippert (I’m being redundant) productions, and mastered the “one take” 50 – 75 set-ups a day that were de rigueur for the Lippert organization.

 

Lippert became obsessed with Margia, and kept her working in his pictures where she became known as “Queen of Lippert.”

 

By the early 1950s Lippert and Margia began an on-again-off-again affair that lasted ten years. In an effort to keep her from straying from his studio and him, Lippert deliberately thwarted opportunities that would have allowed her to appear in major studio films.

 

Margia told me that she regrets being involved with a married man.  However, he was already known as a womanizer.  He didn’t get a divorce because he didn’t want to give up millions.  She said that Lippert’s first love was money, and he would never have put her in a picture if it jeopardized ticket sales, and if he didn’t hire her he would have to find someone else to work for the same pay.  Indeed, she generated respectable reviews from those critics who bothered to review B-movies.  Margia was a competent actor and audiences liked her.

 

Producer, Hal Wallis, was interested in signing Margia and asked Lippert to send over footage of her for him to screen.  Lippert provided outtakes, which ended the interest from the veteran producer.  Margia didn’t know until later.

 

Fellow Greek, Spyros Skouras, recommended her to director Michael Curtiz, as “Nefir” in “The Egyptian” (Fox/1954), but Bella Darvi had just been cast.  Skouras, was erroneously attributed as Margia’s lover in at least one blog, probably because she dated Plato Skouras, Spyros’ son.

 

Margia is best known as Judith Carroon in the Hammer Film Production, “The Quatermass Xperiment” (US title: “The Creeping Unknown”) (UA/1955), and her credits are readily available on IMDb.

 

She also made guest appearances on TV’s “Arthur Godfrey’s Talent Scouts,” “Conrad Nagel’s Celebrity Time,” “Public Prosecutor,” and others, plus various commercials including for Betty Crocker, Cadillac, and Phillips Milk of Magnesia.

 

Margia told me she appeared in one of the first coast-to-coast live dramas in the early 1950s, but can only recall that one of the “Bowery Boys” was in it. [Anyone know what it might have been?]

 

In 1958 she co-starred with Scott Brady in the RegalScope production, “Ambush and Cimarron Pass,” released through Fox, and received billing over a young Clint Eastwood, a subject she and Eastwood laughed about 40 years later at a Hollywood function.

 

Later in 1958, Lippert’s output was elevated to “A-“ CinemaScope pictures for Fox.  Margia produced one of them, “The Long Rope” (1961), with Hugh Marlowe.  According to Margia, the film’s director, William Witney, objected to having a female producer, but mellowed his stance when she brought it in on time and budget.

 

Margia co-starred in both “Villa!!” (Fox/1958), with Brian Keith, where she also sang two songs (and wrote additional lyrics), and “Secret of the Purple Reef” (Fox/1960), with Peter Falk.

 

In 1964, after associate-producing “The Horror of it All” (Fox/1964), directed by Terence Fisher, and starring Pat Boone, Margia met a Spanish architect who had been living in Brazil, Felipe Alvarez.

 

At the time, Felipe, who is fluent in four other languages, had limited English skills (Margia spoke Spanish) They met at a night club on the Sunset Strip where he sang. Subsequently, Margia invited him to perform at a party for Mexican celebrities.  The couple fell in love and married later that year.  They are happily married to this day, and he still occasionally sings professionally.

 

Lippert tried to get Margia to break off with Felipe, and offered her money and gifts, including a ruby brooch (all of which she returned), uncharacteristic of the penurious Lippert.  He used to tell people he purchased a house for Margia, which is untrue.   She sold her home and built a luxurious home above the Sunset Strip, which she completely paid for.

 

Although Walter Winchell praised her in his column, Lippert, who knew all of the producers and exhibitors, successfully blackballed her from making films.

 

Lippert used his considerable influence to concoct a scheme to deport Felipe, but was ultimately unsuccessful.  However, he did succeed in getting Felipe fired from an architectural firm. Then he began a series of attempts to ruin the newlyweds financially.  Margia lost a restaurant she owned in Beverly Hills, a dress shop in Brentwood, and he went so far as to have a “contract” put out on Felipe’s life! Through a very good friend (producer Jack Leewood) Margia discovered his nefarious plan, and called the police so fortunately it went no further.

 

Years later he told Margia, “I had no idea, my attorney must have done it!,” and “I have you in my will for $200,000,” both of which were lies.

 

By the mid-60s, Fox decided there was no need for the type of product Lippert produced, and didn’t renew his contract.  His phone stopped ringing. Having lost both his producer position, and Margia, he headed back to the Bay Area and returned to his first love, his theatre circuit.

 

Upon his passing, Lippert’s secretary called Margia and said, “Mr. Lippert wanted you to be the first to know”.

 

Margia told me she was sorry to have made B-movies because it kept her from being assigned “A” roles.  I disagree.  Lots of A-list actors appeared in B-movies; it was a string of bad luck; the loss of the “Notorious” and “The Egyptian” roles, and especially Frank Orsatti’s death, the Hal Wallis sabotage and, of course, Lippert’s blackballing.  The B-movie part of the equation was  not the problem per se, it was the ones she was in were produced by Robert L. Lippert.

 

Fortunately, Margia went on to have successful careers, most notably in real estate, where she became vice-president of a major Los Angeles firm.

 

 

Margia Dean starring, or featuring Margia Dean in the cast and owned by Kit Parker Films.

(*) Available on DVD from http://www.sprocketvault.com

 

SHEP COMES HOME (1946)

I SHOT JESSE JAMES (1949) *

RIMFIRE (1949) *

GRAND CANYON (1949)

RINGSIDE (1949) *

TREASURE OF MONTE CRISTO (1949) *

TOUGHT ASSIGNMENT (1949) *

RED DESERT (1949)

THE BARON OF ARIZONA (1950) *

WESTERN PACIFIC AGENT (1950) *

MOTOR PATROL (1950) *

HI-JACKED (1950) *

THE RETURN OF JESSE JAMES (1950) *

THE BANDIT QUEEN (1950) *

FINGERPRINTS DON’T LIE (1951) *

MASK OF THE DRAGON (1951) *

TALES OF ROBIN HOOD (1951) *

PIER 23 (1951) *

KENTUCKY JUBILEE (1951) *

SAVAGE DRUMS (1951) *

LEAVE IT TO THE MARINES (1951) *

SKY HIGH (1951) *

F.B.I. GIRL (1951) *

LOAN SHARK (1952) *

FANGS OF THE WILD (1954) *

THE LONESOME TRAIL (1955) *

 

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