On the trail of the lonesome pine1/10/2023 ![]() ![]() In 1916, a second adaptation, directed by Cecil B. The novel was first adapted for the screen in 1914, and starred Dixie Compton. With the success evident in Howe's work, especially in lighting, "every blue-eyed actor and actress wanted him as their photographer." Other adaptions Specifically, Howe made Mary Miles Minter's blue eyes register on orthochromatic film with a filter. Listed as first camera, essentially, Howe was considered the director of photography. The Trail of the Lonesome Pine was the second film on which cinematographer James Wong Howe earned his reputation leading him to become one of the most sought cinematographer of the era. Ed Brady as 'Bad' Rufe Tolliver (as Edwin J. ![]() Ernest Torrence as 'Devil' Judd Tolliver.June intervenes to beg for peace between the clans, and when Hale recovers, he and June are wed. Instead, he arranges to have Rufe shot on the way to his execution, and in the ensuing chaos Hale is also wounded. June's father Judd Tolliver (Torrence), the leader of the clan, vows that he will not see a relative hanged. June is called upon as a witness, and although her clan expect her to remain loyal to them, she does not lie. The day that June returns from the city, her education complete, her uncle Rufe Tolliver (Brady) is arrested for the killing of a policeman. In the meantime the feud between the clans deepens, and Hale, having been made a deputy, is keen not to take sides despite his love for June. Hale sends June away to the city, funding her education with the intention of marrying her on her return. When engineer John Hale (Moreno) comes to the mountains to aid in the development of the coal and iron industries, June falls in love with the handsome "furriner." As described in various film magazine reviews, June Tolliver (Minter) is a girl of the Kentucky mountains, whose clan has been feuding with the Falins for generations. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to. If you would like to reproduce text from a MoMA publication, please email. ![]() For more information about film loans and our Circulating Film and Video Library, please visit. For access to motion picture film stills for research purposes, please contact the Film Study Center at. Motion picture film stills cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at. At this time, MoMA produced video cannot be licensed by MoMA/Scala. MoMA licenses archival audio and select out of copyright film clips from our film collection. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). ![]() “Technicolor is not restricted to a studio's stages, but can record quite handsomely the rich, natural coloring of the outside world and whatever dramatic action may be encountered in it.” 35mm print from The Museum of Modern Art courtesy NBC Universal. “Color has traveled far since first it exploded on the screen last June in Becky Sharp,” The New York Times critic Frank Nugent wrote. Howard Greene’s cinematography is truly a marvel, capturing the browns, greens, and deep sky blues of the Northern California forest, and proving to Hollywood studios and audiences that Technicolor had achieved a major breakthrough with its new three-strip process. This underappreciated Western melodrama-the first three-strip Technicolor feature to be filmed outdoors-centers on the blossoming romance between Henry Fonda and Sylvia Sidney during a violent family feud. With Sylvia Sidney, Fred MacMurray, Henry Fonda, Beulah Bondi. Screenplay by Grover Jones, based on the novel by John Fox, Jr. ![]()
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