Lon Chaney and Nigel De Brulier in The Hunchback of Notre Dame (1923).
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Wie schön ist die Prinzessin Salome! Man soll sie ja aber nicht ansehen. Als Stummfilm funktioniert Oscar Wildes unmoralischer biblischer Einakter nicht ganz so schön wie als Oper, obwohl sie reizende Dekorationen nach Aubrey Beardleys Illustrationen verwenden, und es einige recht kesse Bürschchen zu sehen gibt. Trotzdem wirkt alles etwas statisch, unsinnigerweise auch Alla Nazimovas Schleiertanz. Der Film ist allerdings jetzt auch 100 Jahre alt und in keinem besonders guten Zustand, da wollen wir sie doch eher für ihren frühen Anfall von exzentrischem künstlerischem Gestaltungswillen loben.
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Nigel de Brulier: Holy Man for Hire
Nigel de Brulier: Holy Man for Hire
I’m sure I was prompted to investigate Nigel de Brulier (Francis Packer, 1877-1948) by his role as Rajah the Fortune Teller in Mae West’s I’m No Angel (1933). But I quickly realized that I knew him from dozens of movies dating back through the silent era with a career beginning nearly 20 years earlier.
de Brulier is easily spotted. Tall, wistful, emaciating looking, he was often cast as priests,…
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Salomé (1922)
[letterboxd | imdb]
Director: Charles Bryant & Nazimova
Cinematographer: Charles Van Enger
Performers: Arthur Jasmine, Nigel De Brulier, Nazimova, Mitchell Lewis, & Rose Dione
Art Director & Costume Designer: Natacha Rambova (inspired by Aubrey Beardsley's Salomé illustrations)
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SOFT CUSHIONS (1927), with Sue Carol, Douglas MacLean, Boris Karloff, Richard Carle, Nigel De Brulier & Noble Johnson.
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THE HUNCHBACK OF NOTRE DAME (1923) – Episode 172 – Decades Of Horror: The Classic Era
“Why was I not made of stone, like thee?” Existentially or metaphysically speaking? Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, and Jeff Mohr along with guest host Michael Zatz – as they visit Cathédrale Notre-Dame de Paris via Universal’s stunning, purpose-built, 19-acre set to discuss The Hunchback of Notre Dame (1923) and Lon Chaney’s star-making role as Quasimodo.
Decades of Horror: The Classic Era
Episode 172 – The Hunchback of Notre Dame (1923)
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In 15th-century Paris, the brother of the archdeacon plots with the gypsy king to foment a peasant revolt. Meanwhile, a freakish hunchback falls in love with a gypsy dancer.
Directed by: Wallace Worsley
Writing Credits: Victor Hugo (1831 novel); Perley Poore Sheehan (adaptation) (as Perley Poor Sheehan); Edward T. Lowe Jr. (scenario); Chester L. Roberts (uncredited)
Produced by: Carl Laemmle (uncredited); Irving Thalberg (uncredited)
Editing by: Edward Curtiss (as Edward Curtis); Maurice Pivar; Sydney Singerman
Art Direction by: Elmer Sheeley (as E.E. Sheeley); Sidney Ullman (as Sydney Ullman)
Set Decoration by: Hans Dreier (uncredited)
Costume and Wardrobe Department: Gordon Magee (costume supervisor) (uncredited)
Selected Cast:
Lon Chaney as Quasimodo
Patsy Ruth Miller as Esmeralda
Norman Kerry as Phoebus de Chateaupers
Kate Lester as Madame de Condelaurier
Winifred Bryson as Fleur de Lys
Nigel De Brulier as Don Claudio (as Nigel de Brulier)
Brandon Hurst as Jehan
Ernest Torrence as Clopin (as Ernest Torrance)
Tully Marshall as El Rey Luis XI
Harry von Meter as Mons. Neufchatel (as Harry Van Meter)
Raymond Hatton as Gringoire
Nick De Ruiz as Mons. Le Torteru (as Nick de Ruiz)
Eulalie Jensen as Marie
Roy Laidlaw as Charmolu
Ray Myers as Charmolu’s Assistant (as W. Ray Meyers)
William Parke as Josephus (as William Parke Sr.)
Gladys Brockwell as Sister Gudule
John Cossar as Judge of the Court
Edwin Wallock as King’s Chamberlain
Marion Gray as Woman at Ball (uncredited)
Gilbert Roland as Extra (uncredited)
Lon Chaney Sr. is a legend of classic horror movies. His make-up and monsters are iconic, from Phantom of the Opera (1925) to London After Midnight (1927). Another mind-blowing Chaney character is Quasimodo from The Hunchback of Notre Dame (1923). Join the Grue-Crew and special guest host, Grue-Believer and GM Fan Mikey Z, for their look back at this influential, silent masterpiece.
You might also want to check out these other Classic Era episodes focused on silent screams:
THE CABINET OF DR. CALIGARI (1920) – Episode 13
NOSFERATU (1922) – Episode 21
THE PHANTOM OF THE OPERA (1925) – Episode 42
THE CAT AND THE CANARY (1927) – Episode 60
HÄXAN (1922) – Episode 79
THE PHANTOM CARRIAGE (1921) – Episode 85
THE GOLEM (1920) – Episode 99
FAUST (1926) – Episode 145
DR. JEKYLL AND MR. HYDE (1920) – Episode 160
At the time of this writing, The Hunchback of Notre Dame is available for streaming from Amazon Prime, MGM+, Kanopy, Tubi, Crackle, and PlutoTV. The film is available on physical media as a Blu-ray from Kino Lorber.
Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by guest host “Jose,” is The H-Man (1958), another Toho classic directed by Ishirô Honda. Beware the liquidman!
Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at
[email protected]
To each of you from each of them, “Thank you so much for watching and listening!”
Check out this episode!
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Lon Chaney | The Hunchback Of Notre Dame (1923) | Full-length Original Silent Film
The original version of The Hunchback of Notre Dame is a 1923 American drama silent movie. The film stars Lon Chaney, and is directed by Wallace Worsley, and produced by Carl Laemmle and Irving Thalberg. The cast includes Patsy Ruth Miller, Norman Kerry, Nigel de Brulier, and Brandon Hurst. The film was the studio's "Super Jewel" of 1923 and was their most successful silent film, grossing $3.5 million. Never Miss An Upload, Join the channel. https://www.youtube.com/@nrpsmovieclassics
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Les Trois Mousquetaires.
1921.
Réalisation : Fred Niblo.
Scénaristes : Douglas Fairbanks, Edward Knoblock et Lotta Woods
Casting :
Douglas Fairbanks, Léon Bary, George Siegmann, Eugene Pallette, Boyd Irwin, Thomas Holding, Sidney Franklin, Charles Stevens, Nigel De Brulier,
Willis Robards, Lon Poff, Mary MacLaren, Marguerite De La Motte, Barbara La Marr, Adolphe Menjou.
Synopsis :
"Un pour tous, tous pour un", s'écrient les mousquetaires. Pour d'Artagnan, Athos, Porthos et Aramis, l'honneur de la reine de France est en danger. En butte aux attaques sournoises du cardinal de Richelieu, la Reine doit son salut au dévouement de ces quatre fidèles mousquetaires.
De Paris à Londres, ils devront affronter la sulfureuse Milady de Winter et Monsieur de Rochefort, âme damné du cardinal.
Plaisir de visionnage : Muet (sonorisé), en Noir et Blanc. Long, plus de 2H.
Pas pour tous les publics.
Richelieu est vil, c'est jouissif.
Note : 3 chats.
Disponibilité : Existe en DVD.
Pas disponible sur les plateforme de streaming à ma connaissance.
Gratuit sur Youtube : https://www.youtube.com/watch?v=R-CRwHGMw6o
Bonus Point Chats : Richelieu a des chatons.
Présents dans des scènes et dans ses bras.
Note : 4 chats.
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Alice Terry and Rudolph Valentino in The Four Horsemen of the Apocalypse (Rex Ingram, 1921)
Cast: Rudolph Valentino, Alice Terry, Pomeroy Cannon, Josef Swickard, John St. Polis, Alan Hale, Bridgetta Clark, Virginia Warren, Stuart Holmes, Nigel De Brulier, Wallace Beery. Screenplay: June Mathis, based on a novel by Vicente Blasco Ibañez. Cinematography: John F. Seitz. Art direction: Joseph Calder, Amos Myers. Film editing: Grant Whytock.
Nobody reads that whopping bestseller of 1919, Vicente Blasco Ibañez's The Four Horsemen of the Apocalypse, anymore, but Rex Ingram's film version, adapted from the novel and shepherded through production by June Mathis, has helped keep it in print for a century. It's an impassioned reaction to the horror of World War I as well as the film that helped establish Rudolph Valentino -- who was discovered by Mathis -- as a superstar the moment he stepped onto the dance floor with Beatrice Dominguez for a sizzling tango. Granted, some aspects of Valentino's appeal have gone out of style: the flared nostrils and lowered eyelids and the oil-slicked hair that glistens like an LP record. But late in the film, when he appears with a few days' growth of beard, he could vie with any contemporary stubble-enhanced leading man. And he was not an inconsiderable actor, more than holding his own in a company of scenery-chewers. Just standing there, he had the quiet self-assurance of someone like Gary Cooper, an actor who draws the eye without begging for it. There is much that's preposterous about Ibañez's story, especially the mysterious Tchernoff (Nigel De Brulier), who lives in the attic above Julio Desnoyer's (Valentino) studio and descends at the start of the war to deliver a sermon about the four horsemen in the book of Revelation, illustrating it with Dürer's woodcuts. There are some characters and incidents brought over from the novel that could have been cut, like Julio's sister, Chichí (Virginia Warren), and the married couple across the way from Julio's studio, a Frenchman and a German woman. The latter falls to her death from her window after her husband marches off to war, a blatant symbolic moment. But Mathis's adaptation is on the whole solid, and John F. Seitz's cinematography makes the most of the expensive sets.
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5 versions of Frollo
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Purity, Audrey Munson and Nigel De Brulier, 1916
Purity, a simple country girl, comes to the city and is hired as an artist's model. A young poet becomes obsessed with her, and is distraught when he learns she has been posing nude. But his distress is diminished when he finds that she intends to use her income from modeling to publish his poetry. (Jim Beaver)
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Quasimodo (Lon Chaney) with Dom Claude Frollo (Nigel De Brulier) in the cathedral of Notre Dame.A scene from the 1923 movie "The Hunchback of Notre Dame".
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Bad movie I have The Iron Mask 1929
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Lost, but Not Forgotten: A Doll's House (1922)
Direction: Charles Bryant; assisted by Albert Kelley
Scenario: Peter M. Winters (pen name of Nazimova)
Original Play: Henrik Ibsen
Camera: Charles Van Enger & Neal Jack (2nd camera); assisted by Paul Ivano & Lewis Wilson
Cutting: Lou Ostrow; assisted by Samuel Zimbalist
Wardrobe: Lilliam Turner
Studio: Nazimova Productions (production) & United Artists (distribution)
Performers: Nazimova, Alan Hale, Wedgewood Nowell, Nigel De Brulier, Florence Fisher, Clara Lee, Philippe de Lacy, Barbara Maier, Elinor Oliver
Premiere: Opening week: February 11-18, Strand Theatre, 1579 Broadway, Manhattan, NY and the Strand Brooklyn Theatre, 647 Brooklyn, NY.
Status: presumed entirely lost
Length: 7 reels or roughly 77 minutes
Synopsis (synthesized from magazine summaries of the plot)
In a comfortable flat, Nora Helmer (Nazimova) keeps house for her husband, Torvald (Hale), and their three children. Nora works hard to keep Torvald happy by playing the role of his “little squirrel.”
from Moving Picture World, 18 February 1922
Things were not always so comfortable for the Helmers, however. Three years prior, Torvald was gravely ill and the doctor ordered special treatment and a trip south to save his life. Nora secretly approached a money-lender, Krogstad (Nowell), to pay for Torvald’s treatment and forged her now-deceased father’s signature on a bond. In the intervening years, Nora has scrimped, saved, and taken in extra work to pay off the loan—still keeping the secret from her “principled” husband, who doesn’t approve of money-lenders.
Now, Torvald has fully recovered his health and Nora is one payment away from paying the loan in full. Torvald gets promoted to an official position at the bank and Krogstad now works under him. Upon learning that Krogstad has an unsavory past, Torvald decides to fire him—planning on offering his position to Nora’s childhood friend, Mrs. Linden (Fisher), who is now a single mother in need.
from Exhibitors Herald, 28 January 1922
Krogstad reveals to Nora that he knows she forged her father’s signature and that he will expose her to her husband if she doesn’t get Torvald to reinstate him at the bank.
Nora desperately tries to keep a cheerful, playful demeanor with Torvald. When Torvald sermonizes to her about moral turpitude due to bad mothers, she panics and feels her downfall is imminent.
Nora determines that she may be able to pay Krogstad off, and asks a family friend, Dr. Rank (De Brulier), for a loan. Unexpectedly, Rank takes this moment to confess his feelings for Nora. Nora rebuffs him, but now feels as though she has nowhere to turn.
from Motion Picture Magazine, May 1922
On Christmas Eve, Nora knows that there is a letter from Krogstad in their post box, but only Torvald has a key. Nora frantically distracts him from opening the box before they leave for a holiday masquerade party. Torvald notices Nora’s frenetic energy in how she dances at the party, but doesn’t know the cause.
When they return home, Torvald retrieves the mail. Before he can open the letter from Krogstad, Nora confesses that she deceived him to save his life. Torvald is furious that Nora has endangered his reputation and questions if she is fit to be a mother while in the same breath stating that he will pay Krogstad off.
However, when Torvald opens the letter, his mood turns on a dime. Krogstad has had a change of heart due to the influence of Mrs. Linden, who also happens to be an old sweetheart of Krogstad’s. The letter contains the cancelled note. Torvald grabs Nora and dances her around the room, overjoyed that his reputation is no longer in danger.
Nora realizes all of her acrobatics (literal and metaphorical) to keep Torvald happy have been pointless. She has sacrificed so much of her energy and independence to merely become “a toy of a selfish man.” The mask has fallen. While Torvald is ready to pretend that nothing has changed, Nora knows that she cannot go back to being his doll. Nora packs up her belongings and leaves the flat—intent on becoming her own person.
Final title card: “The End, or, Rather the Beginning.”
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Points of Interest:
A Doll’s House (1922) was Nazimova’s first independently produced film after her contract with Metro ended.
Some of Nazimova’s first roles on the American stage were Ibsen plays (“Hedda Gabler,” “A Doll’s House,” & “The Master Builder,” to be specific), so this film was an attempt to capture some of that work on film.
Only 8 out of Nazimova’s 18 silent films survive today and only 3 have been made available on home video or streaming. [I recently re-watched Salome (1922) on the Pioneers: First Women Filmmakers set and I can’t recommend picking up this set enough!]
All Nazimova Silents:
“War Brides” (1916, presumed lost)
“Revelation” (1918, extant at MGM)
“Toys of Fate” (1918, extant at Národní filmový archiv)
“A Woman of France” (1918, short, presumed lost)
“Eye for Eye” (1918, extant at Gosfilmofond)
“Out of the Fog” (1919, presumed lost)
“The Red Lantern” (1919, extant at Cinémathèque Royale de Belgique, Gosfilmofond)
“The Brat” (1919, presumed lost)
“Stronger than Death” (1920, extant at MGM & Eastman House)
“Heart of a Child” (1920, presumed lost*)
“Madame Peacock” (1920, extant at Cinémathèque Royale de Belgique)
“Billions” (1920, presumed lost)
“Camille” (1921, extant)
“A Doll’s House” (1922, presumed lost)
“Salome” (1922, extant)
“Madonna of the Streets” (1924, presumed lost)
“The Redeeming Sin” (1925, presumed lost)
“My Son” (1925, presumed lost)
*The Women Film Pioneers Project website has this film listed as extant at Cinémathèque Royale de Belgique, but LOC lists it having no known archival holdings.
[Survival status checked via LOC’s Silent Feature Film Database, and re-checked at relevant archives when available]
Transcribed Sources & Annotation over on the WMM Blog!
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