Worth a look solely for those rich, elegant shots of Park Ave. that prominently showcase two of the sleekest, most alluring boxes ever erected: Lever House and Seagram Building. Therefore, a Mid-Century modern feast for the eyes, sappiness and all. Plus, how appropriate that Suzy Parker, the sovereign of supermodels, plays a complete loon!

"You're in danger here, Snakeskin. You've taken off the jacket that said: "I'm wild, I'm alone!" and put on the nice blue uniform of a convict!"

This is one of Loretta Young's best "precode" films, right there with Heroes for Sale, Man's Castle, Zoo in Budapest, and Employees' Entrance, and one in which MGM removes the gloss and gets down-and-dirty in the true Warner Bros. fashion.

"Flaming Youth" (1923), one of the most sought after of all lost films, and recognized for catapulting Colleen Moore into superstardom and for defining a generation, only survives in one reel. Therefore, who ever rated it a mere two stars is either lying about seeing it or is basing their rating on one measly reel...or they have an extensive archive of lost silent films in which no one is aware of.

"Marianne" (1929), a quasi-musical drama, is Marion Davies' first foray into sound, and quite a courageous effort at that. Davies, unlike the greater portion of her peers, seems more up to the challenge of conquering the new cinematic medium, showcasing her gifts for impersonations (most notably Maurice Chevalier) and mimicking foreign accents with a daring confidence, succeeding where so many of her silent counterparts miserably failed; making a smooth transition to sound.

This is another superb and, unfortunately, obscure, silent comedy that fitly showcases the comedic adroitness of funny girl Marion Davies. Here, Davies is a delightful pest fighting for the affections of Nils Asther, a terrifically suave, Danish-born actor of the day, with stiff competition from Jetta Goudal, one of most extravagant and exotically alluring seductresses of the silent era. Highly recommended.

Another among the lost, "Lillies of the Field" (1924), from what information I have gathered and what stills I have had the pleasure of seeing, was among Corinne Griffith's most ingenious films, both ornately designed and praised for its performances. One review stated of Miss Griffith's stunning beauty, "Beauty, true beauty, gracefully arrayed, is always an important asset in a photoplay, and therefore the presence in this film of Corinne Griffith, one of the loveliest women in the movie world, adds considerably to this film." Hopefully, someday, this one pops up.

Colleen Moore was one of the most talented comediennes of her time, and her work is dying to be rediscovered. This is probably the best place to start. Though one can perceive it as a mere "Cinderella" spoof, Ella Cinders, despite the banality of its script (which is actually adapted from a comic strip), is a splendiferous showcase of Colleen Moore's impeccable comic timing and why her effervescent Jazz Age persona was so revered during the 1920s.

With its breathtaking crane shots, dazzling camera movement, mountainous art deco sets, and daring innovations, "Broadway" is one of the most spectacular and stylish musicals I've ever had the pleasure of seeing. Unfortunately, and somewhat confusingly, the surviving sound version is incomplete (with the Technicolor finale still existing), and the silent version survives in much shorter length.

Unapologetic, wonderfully sordid, and callous-hearted, "Night Editor" (1946), despite its generic storyline, is the way all film noir should strive to be, and, of course, the standout is the ever malicious, come-hither Janis Carter.

For me, "Ladies and Gentleman" is the supreme live documentation of the Rolling Stones. The unbelievable, coke-induced energy - prior to Jagger's self-parody years - the tightness of their musicianship, Mick Taylor's tasteful guitar licks (no longer restrained to being a mere fill in for Brian Jones), the Stones never lived more up to their famous moniker "The Greatest Rock & Roll Band In the World".

Dishearteningly a lost film, Rex Ingram's "TRIFLING WOMEN" was notable for its depiction of subtle eroticism, its lavish sets and cinematography, and for igniting its two tragic stars, Barbara La Marr and Ramon Novarro, into two of the most eminent silent film stars of the 1920s. File this one right next to F.W. Murnau's "4 Devils" and Victor Seastrom's "The Divine Woman" for most sought after lost films.

Jovial "budget musical" that is preferable to most A list musicals.