I know it is a reach to consider THE JOHNSTOWN FLOOD (Fox - 1926) on the margin of being a genre film. Nonetheless, while watching the restored version on TCM last night (1/8/24), I was very impressed by the special effects of this tragic disaster as depicted in this Fox epic. Director Irving Cummings benefitted from the fine miniature work by E. Roy Davidson (who later worked for Howard Hughes on HELLS ANGELS) and Jack Clifford Smith, as well as matte paintings and other techniques available at the time. A prototypical disaster film in my opinion.
Robert A. Harris, noted film preservationist, did phenomenal restoration work on THE JOHNSTOWN FLOOD in conjunction with James Mockoski. Harris, as many of you know, has done extraordinary restoration work on such classics as LAWRENCE OF ARABIA, SPARTACUS, VERTIGO, REAR WINDOW, MY FAIR LADY, TRIUMPH OF THE WILL, etc. I was fortunate enough to briefly work with Harris fifty years ago when I was fresh out of college. His IMAGES company rented films to colleges and film societies. He had an interesting catalogue at the time including THE LAST HOUSE ON THE LEFT and the films of Marcel Pagnol. At that point, he was interested in Abel Gance's masterpiece NAPOLEON (1927) - which he later assisted Kevin Brownlow in restoring and having a wonderful resurrection in 1980 with screenings in New York, Los Angeles and elsewhere. Those who were privileged to see these screenings were treated to a live orchestra with a score composed and conducted by Carmine Coppola. Robert Harris is truly one of the unsung heroes of film preservation and restoration. The painstaking work he has put into the above listed (and more) films, traveling world-wide, finding missing fragments, enhancing images, tinting, color, and more. He has such zeal and passion for motion pictures as they should be seen.
Going back to THE JOHNSTOWN FLOOD, it offered a fine starring role for George O'Brien who was a major leading man in the late silents before settling into character roles in the talkies. A youthful Janet Gaynor also impresses in this film. And, having recently had an article published in Midnight Marquee on minor player Ted Billings, it was an added treat for me to see his stepson Elmo Billings as the freckle-faced young lad playing the accordion in a couple of scenes.
Robert A. Harris, noted film preservationist, did phenomenal restoration work on THE JOHNSTOWN FLOOD in conjunction with James Mockoski. Harris, as many of you know, has done extraordinary restoration work on such classics as LAWRENCE OF ARABIA, SPARTACUS, VERTIGO, REAR WINDOW, MY FAIR LADY, TRIUMPH OF THE WILL, etc. I was fortunate enough to briefly work with Harris fifty years ago when I was fresh out of college. His IMAGES company rented films to colleges and film societies. He had an interesting catalogue at the time including THE LAST HOUSE ON THE LEFT and the films of Marcel Pagnol. At that point, he was interested in Abel Gance's masterpiece NAPOLEON (1927) - which he later assisted Kevin Brownlow in restoring and having a wonderful resurrection in 1980 with screenings in New York, Los Angeles and elsewhere. Those who were privileged to see these screenings were treated to a live orchestra with a score composed and conducted by Carmine Coppola. Robert Harris is truly one of the unsung heroes of film preservation and restoration. The painstaking work he has put into the above listed (and more) films, traveling world-wide, finding missing fragments, enhancing images, tinting, color, and more. He has such zeal and passion for motion pictures as they should be seen.
Going back to THE JOHNSTOWN FLOOD, it offered a fine starring role for George O'Brien who was a major leading man in the late silents before settling into character roles in the talkies. A youthful Janet Gaynor also impresses in this film. And, having recently had an article published in Midnight Marquee on minor player Ted Billings, it was an added treat for me to see his stepson Elmo Billings as the freckle-faced young lad playing the accordion in a couple of scenes.
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