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Best movie ever!

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

What a super movie - it had thrills, suspense and a very surprising finish, you have to keep reminding yourself it is over 96 years old!!! Anna Q. Nilsson may well have been one of the first film stars to freelance. She was a beautiful Swedish actress who had been working at Kalem for four years. Unfortunately her salary had not increased (much) and she had just divorced her husband who happened to be Kalem's leading actor.Raoul Walsh esteemed her talents as an actress enough for him to cast her in "Regeneration", his first major directorial assignment and a sensational crime movie based on Owen Kildare's popular play, "My Mamie Rose", which was said to be autobiographical. Walsh, a disciple of D.W. Griffiths, may even have surpassed his master in some of the scenes from this movie. The crowd scenes at Grogans captured the color and vibrancy of the city's melting pot of people. Outside of a few scenes in a Bowery mission it was all filmed on the streets of New York, including scenes on the Hudson River.The film begins with young Owen, due to the death of his mother, being taken in by his neighbours, the Conways, a rough couple who soon familiarize Owen with tough, unforgiving tenement life. Owen (Rockcliffe Fellows) is eventually hardened to the "might is right" way of the streets and by his mid twenties is the leader of a tough street gang. The new D.A. vows to stamp out the gangsters but bows to pressure from butterfly socialite Marie (Nilsson) who longs to see a gangster close up. He takes her to Grogans, the local gangster haunt but is involved in a scuffle and Marie's real distress catches Owen's attention. He breaks up the fight but the incident awakens Marie's better self and she soon finds herself running a settlement house in the heart of the gangster district. The day everyone looks forward to is the annual treat, a day of pleasure on a large boat. The fire on board the boat showed Walsh's superb handling of crowds - people madly running everywhere, the plunging into the river, the frantic scramble to get to a boat that eventually collapses through overloading and the end title that declares "All the kiddies were saved"!!! Apparently Walsh hired thugs from Hell's Kitchen to round up some extras from the Bowery and when there weren't enough women he offered some men extra money to dress up as women and it made for a vivid and realistic sequence when they all jumped into the water. William Fox was so impressed that he raised Walsh's salary to $800 a week!!There is even a graphic (for 1915) scene of drug use. A woman flees to the settlement begging that someone rescue her baby from the dwelling she shares with her drug addicted husband. Owen, who is not involved with the settlement, is deemed the man for the job and when he goes to the room and finds the man in a groggy state, by rescuing the baby his salvation begins. Children are symbols of innocence and purity - Owen, as a child, was seen as a loving little boy who was corrupted by the adult couple who took him in and in the fire sequence, Owen runs back to the boat to save two little girls. Griffith's influence is seen in the pathos, when Marie realises Owen has secretly helped a friend, "Skinny", to avoid a serious charge although in Owen's favour, he wants nothing more to do with "Skinny" - it was as a favour to repay a childhood debt.Interspersed between a brutal near rape scene are various Griffith inspired titles, very flowery, some with biblical quotations.

Monday, October 25, 7pm, The Paramount, Seattle"She made of my life a changed thing and never can it be the same again!" An orphan (Rockcliffe Fellowes) grows up on streets of New York's Lower East Side and becomes the leader of a violent criminal gang. A social worker (Anna Q. Nillsson) turns his head and saves him from his immoral ways, but the past won't let him go.A glowing tribute to the Settlement House Movement, Regeneration is based on My Mamie Rose, the autobiography of Bowery Boy Owen Kildare. While D. W. Griffith's The Musketeers of Pig Alley (1912) is generally considered the dawn of the gangster film genre, Regeneration is the first of the feature era. Director Raoul Walsh firmly established the start of his half-century career with this influential film, produced by Fox Film Corporation in their first year. Moonlighting Kalem Studios star Nillsson and newcomer Fellowes interact with touching realism as the kind-hearted socialite and the Fools Highway thug in this balanced tale of love, disaster and redemption.

Regeneration (1915) ** (out of 4) First film directed by the legendary Raoul Walsh after working on The Birth of a Nation is probably best known for being one of the first "gangster" pictures as well as being one of the first films to actually shoot on the streets of Hell's Kitchen. Owen is orphaned at the age of ten and taken in by his abusive neighbors and by the time he's an adult (Rockliffe Fellows) he's a "gangster" living on the streets, not working and drinking too much but a social worker decides to try and changed his ways. The term gangster here isn't like the gangster films we're accustomed to but instead it means poor folks hanging out on the streets. The historical importance of this film can't be argued and it clearly influenced some of Scorsese's films as he talked about in A Personal Journey with Martin Scorsese but at the end of the day there's really very little going on in this thing. The use of real locations and real actors is a nice touch but the story drags along and the editing, which Walsh is clearly trying to copy Griffith, is a mess. The 70-minute running time feels a bit long as well. From a historic standpoint this is worth viewing once but I doubt I'd go back for a second viewing. The highlight of the film is one scene where people are partying on a boat, which catches fire and they must try to make an escape. This here is certainly one of the great scenes of the silent era.

Spoilers herein.This film has some absolutely amazing elements, though to my mind the story, editing and all the acting could be discarded. What startled me was the realism. This was when the film industry was still based in New York, and that city becomes the star. Real street scenes are used, as well as (presumably) many of the extras. When there's a fight, it seems pretty real. When you have some toughs, they're tough and not just acting tough.There's a shot early in the story where the star as a teenager has a fight. One of the spectators has a nose tumor. Its just the sort of thing you'd see in a bad area. These details make it real.The camera is stationary except for very few moments. As I say, the editing is clumsy, but there is some terrific irising and two very effective superpositions. Those two elements, the effective use of the city and the camera, make this worth watching.The story is trite in most respects, except the ending, which is intelligent. He broke the rules of fate, and so his girl dies. Except for the theatrical moaning, the end is gritty, like the streets.Ted's Evaluation -- 3 of 3: Worth watching.