These 1920s Lost Films Must Be Found! (Part 5)

Part 1 : • These 1920s Lost Films...
Part 2: • These 1920s Lost Films...
Part 3: • These 1920s Lost Films...
Part 4: • These 1920s Lost Films...
My Top 1920s Lost Films: • My Top 1920s Lost Films
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0:00 Intro
1:02 "Flaming Youth" (1923)
17:33 "Rolled Stockings" (1927)
27:52 Outro

[@WaverBoy]

This film desperately needs to be found, along with all the rest of Colleen’s lost films and Clara Bow’s lost films as well, especially RED HAIR.

[@sevenstars004]

Absolutely! There is a one minute and twelve second color clip of Red Hair. I hope the rest appears and definitely missing Colleen Moore! I hope they're recovered/rediscovered. Metropolis was mostly pieced back together. There is hope.

[@Lonovavir]

If a copy of Flaming Youth existed I'd want a physical copy of it.

[@JSB1882]

The first time I saw photos of my grandmother when she was around 20 - I called her a flapper and she denied it. She definitely was when you saw her clothing and her friends. When Colleen Moore was older, she always reminded me of my grandmother in her face and mannerisms and voice.

[@davidvincent8929]

WE LOVE THOSE WHO LOVE THEIR GRANDMOTHERS. SMOOCH!!!

[@weylguy]

Although Colleen Moore may have started the Flapper craze, to me Louise Brooks personified it. Despite the doubtless uncountable unwanted pregnancies, abortions and sexually transmitted diseases it spawned, the Flapper Era is notable for the cultural impact it had on 1920s America. My mother wanted to have bobbed hair and flapper dresses and shoes, but was forbidden by her strict Southern Baptist parents. Her husband and my father was a musician in a Jazz Age band, and he saw and experienced it all. What an age! Thank you for this fascinating video, and I hope that these lost films someday come to light!

[@WaverBoy]

The flapper craze isn’t what spawned unwanted pregnancies, abortions and STDs. That would be the suppression of sex education by religious nuts.

[@JJONNYREPP]

These 1920s Lost Films Must Be Found! (Part 6) 0752aM 6.5.24 i once messaged a louise brooks fan a few months back. i wonder if it's you? any era of alleged hedonism has it's detractors - both physically and theoretically. i hate those kindda people. i would have enjoyed this era... "contracting" an unhappy marriage - is that the clap you speak of? not having been married or having any semblance of a good time i must be in awe of these good time chaps and gals.... well played, sirs.... and madams...

[@robertsmith5744]

The 100 year anniversary of "talkies" is coming in 2027 ?

[@colincampbell7027]

Actually, sound films were before 1927. Fox Movietone newsreel were sound on film tech from 1924. So, technically, this year is the 100th anniversary for sound pictures that were regularly shown in theaters.

[@maxlinder5262]

JOAN CRAWFORD HAD A SIMILAR SCENE ....IN A EARLY SOUND FILM ...OF TAKING OFF THEIR CLOTHES TO GO SWIMMING ...................THANKS....L O V E ....ALL THIS INFO ...ABOUT LOST FILMS....THAT SHOULDN'T BE...............

[@brendanthebomber.]

Is your keyboard alright

[@alanbash2921]

📣📣📣📣PLEASE ...Someone Find The Complete Print Of Lon Chaney’s Legendary “ 1919 “ The Miracle Man !!!………… Somebody has a Copy 📣📣📣📣

[@kendn01]

very interesting!!

[@searchthewind99]

I understand that Moore had donated a lot of her films to, I believe the Museum of Modern Art, and wondered why she hadn't heard from them. When she contacted them she discovered they never arrived there. They had gotten lost in transit. They might be gone forever. Flaming Youth made her a star but she was called a flapper from an earlier film she made, So Long Letty.

[@keonikaig9247]

Excellent , thank you...

[@ferzach8687]

I want to see the movie sinthetic sin ,of colleen moore. Do you know where i can find it?

[@barryputterman2412]

Synthetic Sin, along with another 1929 Colleen Moore film Why Be Good?, were found and restored a few years ago. Warner Archive put out Why Be Good? on DVD recently, but it is unlikely that Synthetic Sin will follow because it contains a blackface sequence. However, the print exists and will probably be shown at some venues from time to time.

[@jeffreyk5734]

Another lost film that came out the same year as FLAMING YOUTH that merits some attention is Sam Wood's PRODICAL DAUGHTERS with Gloria Swanson and Vera Reynolds. Kind of a story of the old puritan father (Theodore Roberts) trying to keep his two rambunctious Girls in line in the Roaring 20's. King Vidor's WINE OF YOUTH (1924) Starring Eleanor Boardman, Ben Lyon, William Haines and Pauline Garon is not a lost film, but it is virtually unknown to Modern Audiences. Arguably one of the ultimate surviving Jazz Age movies of the 20's. Deserves to be restored and given considerably more recognition.

[@Manuel421]

Not sure if you've mentioned before but London After Midnight starring Lon Chaney is one I'm definitely interested in seeing. From what I've researched it seems that the last copy was destroyed correct me if I'm wrong though. Anyways as a classic movie and style enthusiast I appreciate these videos.

[@kondor3979]

Thanks for the update. I've been a fan of Louise Brooks since 1994, after reading books on the early history of German films. She was definitely a stunning woman with that unique hairstyle.

[@JJONNYREPP]

These 1920s Lost Films Must Be Found! (Part 6) 0752aM 6.5.24 i once messaged a louise brooks fan a few months back. i wonder if it's you? any era of alleged hedonism has it's detractors - both physically and theoretically. i hate those kindda people. i would have enjoyed this era... "contracting" an unhappy marriage - is that the clap you speak of? not having been married or having any semblance of a good time i must be in awe of these good time chaps and gals.... well played, sirs.... and madams...

[@Sctl_G]

I hope that some of this movies are recover during our life time!

[@michaelmcgee8543]

I like to see that colleen more talkie with Frederick march that included some technicolor scenes.Tha film is lost too

[@Layerboyz]

I downloaded the book. I’ll have to come back to this video, as I don’t want to encounter any spoilers. If you’re interested in reading it, too, I found it on Amazon for $1.99.

[@stm7405]

It's also on project gutenberg for free.

[@alandesouzacruz5124]

I liked Second movie Very interesting

[@prudencepineapple9448]

I'm eternally grateful we had LuLu! I have every one of her films that survive. 'Diary of a lost girl' and 'Pandora's Box', though totally predictable, are my favourites. Both films were directed by German expressionist P.W.Pabst. She was a very complicated woman who just didn't give a damn, much like Tallulah Bankhead.

[@douglasswicegood4420]

Have you ever reviewed "Her Wild Oat" 1927 with Colleen Moore or "Johnstown Flood, " 1926 with Janet Gaynor and George O'Brian?

[@michaelmcgee8543]

Enjoyed!

[@davidvincent8929]

HELLO, HULLO, THANK YOU SO SO MUCHO. WE TRULY LOVE THESE VINTAGE, FILMS. SO HAPPY WITH YOU. YOU BRING JOY INTO OUR DEPRESSING WORLD. KEEP UP THE GOOD WORK. ALSO, TRY TO GET AFRICAN AMERICANS TO HELP. TIME TO BREAK ON THROUGH TO THE OTHER SIDE AND BE GOOD HUMANS.

[@jeffreyk5734]

FLAMING YOUTH is near the top of my list of lost films as well, but really every lost Colleen Moore feature is. NAUGHTY BUT NICE (1927) was a lost film, but a complete print was discovered in Barcelona Spain in 2009. Unfortunately, the longer it sits on the self and nothing is done to preserve it this film could end up lost again. I am very frustrated that it has to my knowledge yet to be repatriated to the United States and a restoration effort undertaken. Another film I would rank high on my most wanted lost list is Aleen Dawan's TIN GOD's (1926) Starring Thomas Meighan, my beloved Renee Adoree and Aileen Pringle. Also Victor Fleming's THE ROUGH RIDERS (1927) with Charles Farrell and Mary Astor.

[@timba3olf568]

"Snappy, fast, and full of sexy stuff." Well now we really have to find it.

[@davidvincent8929]

WE LOVE THOSE WHO LOVE THEIR GRANDMOTHERS. SMOOCH!!!

[@southwerk]

Have you considered asking people to look for Harry Carey Sr. in "The Outcasts of Poker Flat?"

[@rickallanolsen]

How can a film be lost? There were hundreds and hundreds of copies.

[@The1920sChannel]

Film in the silent era was made from nitrate, which often degrades if improperly kept, unlike later film, which was made with material that didn't degrade nearly so easily. Most silent films didn't have much re-release value for the movie studios, so they and the theaters who bought them often threw them away after the initial run was finished. Many of the big movie studios also improperly stored silent films in their archives, and in some cases, they just threw them away years later. After talkies completely took over the industry, there was little interest in silent films anymore, so the studios often didn't bother to maintain their silent film archives very well and few people were interested in seeking them out. By the time there was some interest in silent films again, decades had passed, and even many of the copies that had been kept in storage had degraded beyond repair. There might have been many copies of most silent movies, but the lack of initial archiving and preservation and the decades-long lack of interest coupled with the delicate materials of the film was enough to wipe many of them out of existence. The very small group of collectors pre-1950s could only get so many. But in the 1950s and afterward, many collectors and film preservationists have done good work in saving copies that have survived from further destruction, so the number of lost films would have been much higher if they had started later than they did.

[@annedavis6090]

mom's maiden name was Moore.. she was named Shirley Colleen.. for Ms.Moore

[@jackmorrison7379]

Pre-Code of course, and all it represented in bawdy salacious 1920's eroticism would be squelched by a code named after a Protestant (Will Hays) but enforced by an ultra-conservative Roman Catholic Irish-American starting 1934. Look it up. Colleen Moore has her own interesting life story. Now largely forgotten except by auteurs and film students and known more for her donation of an amazing doll house sized castle-home with tiny furnishings in a Chicago museum. But she was so much more, including it is rumored a lover of director King Vidor. For a flapper she became a social and political conservative later, and an active California Republican (like her life-long friend also featured on this channel, Harold Lloyd). Though many of her films were lost I think it is her politics which killed her at the film schools starting in the mid-1970's till now. It also elevated (and see at least one commentator here) a troubled, later poor and unemployed contemporary to unmerited regard and near cult status: Louise Brooks. That's the unmitigated influence of modern feminist and leftist members of the professoriate and chattering class. who have made Brooks, not Moore their avatar of all things flapper and chic. A status Brooks never had in life. Moore, not Brooks was a well regarded USA star but you'd never know it now.

[@barryputterman2412]

Having gone to film school in the mid-1970s I can tell you that Colleen Moore was unknown there because none of her starring films that were known to exist at the time were considered to have the aesthetic qualities worthy of study. Louise Brooks was known in film courses not because of any connection to American flappers but because of her starring roles in the German director G.W. Pabst's films The Diary of a Lost Girl and especially Pandora's Box. If the social phenomena of the flapper was to be examined, it would probably be through Clara Bow films like It and Mantrap.

[@jackmorrison7379]

@@barryputterman2412 I mostly agree and indeed you hit the point of Ms. Brooks limited fame: German film, not anything produced in Hollywood. Nothing that had broad box office appeal here and was mostly for a limited "arty" audience. Coleen Moore also didn't play flappers only as we both know. But my major point was modern regard, and here it is clearly sociological and political and spurred not by box office or output but by Ms. Brooks interviews late in life. This led to her embrace by the Left and campus and activist feminists. Ms. Moore by contrast was too conventional and conservative off-screen, so doomed to obscurity by the cultural police.

[@barryputterman2412]

@@jackmorrison7379 Well, I think you are over-politicizing the situation. Louise Brooks has certainly been mythologized, but the Pabst films are world cinema classics and none of Colleen Moore's films are well known to the general public. And that isn't because her politics were conservative. A great many of the most renown actors of the "Golden Age" from Lillian Gish to James Stewart were extremely conservative and that hasn't affected either their popular or critical reputations.

[@nessiesearcher]

Too many ads to be enjoyable.