Colleen Moore

A 1980 documentary series exploring the establishment and development of the Hollywood studios and its impact on 1920s culture.

In 1973 the American Film Institute initiated its Life Achievement Award, to be presented to a yearly recipient whose talent has fundamentally advanced the film art; whose accomplishments have been acknowledged by scholars, critics, professional peers and the general public; and whose work has stood the test of time.

Erstwhile childhood friends, Judah Ben-Hur and Messala meet again as adults, this time with Roman officer Messala as conqueror and Judah as a wealthy, though conquered, Israelite. A slip of a brick during a Roman parade causes Judah to be sent off as a galley slave, his property confiscated and his mother and sister imprisoned. Years later, as a result of his determination to stay alive and his willingness to aid his Roman master, Judah returns to his homeland an exalted and wealthy Roman athlete. Unable to find his mother and sister, and believing them dead, he can think of nothing else than revenge against Messala.

No description available.

Ellie Byrne and Don Lane, chums, living in the poor section of a factory town, go away to make their fortunes. Ellie wishes to become a lady so that she can marry Preston Dutton, a society chap, and Don becoming infatuated with Stephanie Parrish, daughter of a wealthy man. Ellie becomes a leading actress and Don the author of her first play. Ellie refuses Dutton’s suit when she learns he is after her money, and Stephanie returns Don’s engagement ring. Ellie and Don go back to the factory town disillusioned. They realize that they love each other and in reality had not bettered themselves for someone else but for each other. A lost film.

When Marie Louise, the daughter of the town factor, returns home from school, Julio Sandoval, a reckless young half-breed ruled by his animal instincts, develops a passion for the girl, even though she is engaged to Captain McKeever of the mounted police. Meeting Marie when she is alone in the woods one day, the half-breed carries her to his cabin on the mountain top where he collapses from an attack of mountain fever brought on by overexertion.

On the eve of her wedding Lady Kay Rutfield runs off aboard her sloop. A storm carries her out to sea and she is rescued by a passing rumrunner bound for the Long Island Sound. Once they arrive in the States, Kay makes her escape and hides in the deserted mansion of Jimmy Winter. Jimmy is due to marry the following day. He comes home to the mansion unexpectedly, and finds Kay, who persuades him to let her pose for a night as his wife.

Idalene Nobbin attends a village dance but, due to the constant nagging of her mother, she believes herself to be a constitutional wallflower. By great luck she gets a dance with college football star Roy Duncan, although Roy has eyes for the village belle Prue Nickerson.

Shenanigans at a small town movie theater.

The story of a young actress trying to attain stardom on Broadway.

Before the G, PG and R ratings system there was the Production Code, and before that there was, well, nothing. This eye-opening documentary examines the rampant sexuality of early Hollywood through movie clips and reminiscences by stars of the era. Gloria Swanson, Mary Pickford, Marlene Dietrich and others relate tales of the artistic freedom that led to the draconian Production Code, which governed content from 1934 to 1968. Diane Lane narrates.

Among the pieces featured in Fragments are the final reel of John Ford's The Village Blacksmith (1922) and a glimpse at Emil Jannings in The Way of All Flesh (1927), the only Oscar®-winning performance in a lost film. Fragments also features clips from such lost films as Cleopatra (1917), starring Theda Bara; The Miracle Man (1919), with Lon Chaney; He Comes Up Smiling (1918), starring Douglas Fairbanks; an early lost sound film, Gold Diggers of Broadway (1929), filmed in early Technicolor, and the only color footage of silent star Clara Bow, Red Hair (1928). The program is rounded out with interviews of film preservationists involved in identifying and restoring these films. Also featured is a new interview with Diana Serra Cary, best known as "Baby Peggy", one of the major American child stars of the silent era, who discusses one of the featured fragments, Darling of New York (1923).

Annie, left orphaned after the death of her mother, goes to an orphanage where she tells her fellow orphans stories of ghosts and goblins. The matron of the orphanage finds Annie's closest relative, the abusive Uncle Thomp. Big Dave, a neighbor comes to her aid, becoming her protector. Eventually Annie goes to live with Squire Goode and his large family. There, she entertains the children of the household with her stories, but sees her abusive aunt and uncle as her chief tormentors. She tells stories of how the goblins will take away the children if they are not good. War breaks out and Dave, who Annie adores, enlists. In a feverish vision triggered by her distress—revealed later as a nightmare—she imagines receiving news of Dave's battlefield death, delivered mockingly by her uncle, leading to her heartbroken collapse and apparent deathbed vigil.

A flapper unwittingly falls for the boss' son.

Pretty Patience Thompson, a "girl with a singing soul," lives with her cold-hearted and avaricious father, Jeff Thompson, on their Indiana farm. Her life of drudgery is brightened by John, the hired hand, but when he asks for her hand in marriage, the old man flies into a rage and discharges him. Soon an aged but wealthy widower courts Patience, and although she still loves John, "Old Jeff" orders her to marry the widower, claiming that a father's will is the law.

During a rebellion of prisoners at the San Quentin State Prison, Boston Blackie makes a lightning escape aided by Mary McGinn while chased prison guards. Mary is a school girl, unaware that her brothers are crooks. She is expelled from school. Blackie rejoins his gang and takes refuge in Mother McGinn's house, where he again meets Mary. She devotes herself to making Blackie go straight and wins her point.

Naughty But Nice was based on The Bigamists, a story by Lewis Alen Brown. Gawky country girl Berenice Summers (Colleen Moore) is catapulted head-first into High Society when her Uncle Seth (Burr McIntosh) strikes oil. Shipped off to a fancy boarding school, Berenice suffers at the hands of her snooty classmates, but the last straw comes when she's publicly humiliated by local wise-guy Paul Carroll (Donald Reed).

In this feature comedy, silent film star Colleen Moore plays a woman who owns a small lunch wagon and falls for a duke’s son, played by Larry Kent, who is pretending to be his own chauffeur. With her savings, she pursues him to a resort hotel, only to be mistaken for a duchess. Preserved by the Academy Film Archive in partnership with Národní filmový archív in 2007.

After graduating from a fashionable finishing school and touring Europe with her father, Selina Peake returns to the United States, where her father is accidentally killed after losing his fortune in a gambling den. Selina is reduced to teaching in a high school in the Dutch community at High Prarie near Chicago. She boards in the farmhouse of Klass Poole, a dull-witted market gardener, and finally marries Pervus DeJong, a poor and backward farmer. She shares the drudgery of her husband's futile life and finds happiness only in their small son, Dirk, whom she calls "So-Big."

Mary Sundale is a young woman who spurns her childhood sweetheart to attach herself to a large group of riotous, semi-artistic young people and becomes infatuated with a superficial poet and critic. One night this poet becomes too bold in his advances and is thrashed by the man who has been rejected. On a later night, the group holds a party in a dirigible. The ship crashes and fear grips the revelers. Mary, now disgusted with the group and all it represents, mends her manner of living and plans a future with the man who has always sincerely loved her. A lost film.