Thumbs Up on Michael J. Hayde's CHAPLINS VINTAGE YEAR

[Richard M Roberts]

Well, I think I’ll add a few words of praise to the other folk praising Michael Haydes Book CHAPLIN’S VINTAGE YEAR, which tells pretty darn good info about the Chaplin Mutuals and is an entertaining read. I think he even beat ol’ Kalton Lahue’s description of the various machinations between all the Patents People and Independents that brought about the Sales Company then Universal, Mutual, the NYMP, Keystone, Triangle, et al and etc. I also like how he covers the various reissues and long life those twelve darn two-reelers have had. It’s a good book covering all that you want to know about the Chaplin Lone Star-Mutuals.

There are minor quibbles (Douglas Fairbanks Sr. was not the only major star to come out of Triangle, William S. Hart really solidified his stardom there too, and that’s not Director Lloyd Bacon with Joel McCrea in the still from KEPT HUSBANDS, it’s Bryant Washburn), but they are indeed minor quibbles folks should be slapped for bringing up in the first place (okay, I slapped myself) with what is indeed a fine book. I say pick it up and check it out.

http://www.bearmanormedia.com/index.php ... uct_id=699



RICHARD M ROBERTS

[Gary Johnson]

I always like hearing that there is new info to learn about an old favorite topic.

Dealing with the re-issuses alone sounds like a twisted maze to cover. That had to of drove Chaplin crazy that he didn't control the rights in the Thirties.

[Richard M Roberts]

I always like hearing that there is new info to learn about an old favorite topic.

Dealing with the re-issuses alone sounds like a twisted maze to cover. That had to of drove Chaplin crazy that he didn't control the rights in the Thirties.

Not at all, in fact, MIchael shows that Chaplin had three opportunities to purchase the Mutuals, in 1919, 1925, and 1969, and never lifted a finger to do so. As I have said for years, I think Chaplin realized that having most of his earlier films in near constant reissue, especially the Mutuals, kept his face and name before the Public in ways that allowed him to take years to make new films and still remain a Box-Office attraction to be reckoned with, without having to spend a penny on publicity or exhibition of those older titles. It was a win-win situation for him.


RICHARD M ROBERTS

[Joe Migliore]

Gary Johnson wrote:

I always like hearing that there is new info to learn about an old favorite topic.

Then I predict you'll enjoy reading about it. It is fun following those shorts through each incarnation. (It's the Van Buren reissues that lose most of the footage, but I still think of those versions as "definitive".) Thanks to Michael for the research that produced this book!

[Michael J Hayde]

RICHARD M. ROBERTS wrote:

There are minor quibbles (Douglas Fairbanks Sr. was not the only major star to come out of Triangle, William S. Hart really solidified his stardom there too, and that’s not Director Lloyd Bacon with Joel McCrea in the still from KEPT HUSBANDS, it’s Bryant Washburn), but they are indeed minor quibbles folks should be slapped for bringing up in the first place (okay, I slapped myself) with what is indeed a fine book.

Thanks, Richard. While I appreciate the term "minor quibbles," as well as your self-administered punishment for bringing them up, the fact that a photo taking up half a page is 100% irrelevant is one helluva mistake. Luckily, BearManor is flexible enough that I've been given the opportunity to correct it. Once the current print run is exhausted, future printings will have a more appropriate image on that page. So folks, buy now because, like the 1955 double-die penny, this baby will soon become a scarce collector's piece! Or so my imagination assures me.

Joe Migliore wrote:

It is fun following those shorts through each incarnation. (It's the Van Buren reissues that lose most of the footage, but I still think of those versions as "definitive".) Thanks to Michael for the research that produced this book!

You're welcome, Joe, and thank you. It pretty much explains why one can't simply hand copies of the original Van Beuren score to a team of musicians and ask them to apply it to a restored version of the film.

Michael