Technicolor Fragments Restored By Josh Rompf Of The L. Jeffrey Selznick School at George Eastman House. The Haghefilm 
Fellowship was established in 1997 to provide additional professional training to outstanding graduates of The L. Jeffrey
Selznick School of Film Preservation at George Eastman House, in Rochester, New York. As this year’s Haghefilm Fellow,
Josh Rompf restored a series of Two-Color Technicolor fragments recently identified in George Eastman House’s collections.
Although only brief excerpts, these sequences offer glimpses into the use of color in several high-profile sound features 
and other lesser-documented shorts. Despite being obtained from a collector, it is believed the following films were all
originally sourced from Technicolor’s Boston laboratory. Many appear to be printing tests. All of the sound productions
in this compilation reel are presented as found, without the original accompanying soundtracks.

SPORTS OF MANY LANDS (Colorart Pictures, Inc., dist: Tiffany-Stahl, US 1929) 5’47”
Little is known about this silent short. The short was produced by Howard C. Brown and Curtis F. Nagel’s Colorart Pictures,
a company set up in late 1926 to make films exclusively using the Technicolor process. Sports of Many Lands utilized Colorart’s
foreign filming unit, obtaining sports themed documentary footage from across the globe. Despite missing approximately 2 minutes
of opening footage, we are still treated to color views filmed in England, the Caribbean, the United States, South America, and
Hawaii. This is a rare opportunity to see a Colorart production. 

THE BROADWAY MELODY (Metro-Goldwyn-Mayer Corp., US 1929) 16 Seconds
The Broadway Melody was M-G-M’s first all-talking feature, and was the first sound film to win an Academy Award for Best Picture.
The original release featured a 307-ft. Two-Color Technicolor sequence for the “Wedding of the Painted Doll” production number.
This color fragment consists of the beginning of the three-and-a-half-minute sequence, providing a glimpse of how the proscenium
arch and dancing girls would have appeared to audiences in 1929.

SONG OF THE ROSES (Metro-Goldwyn-Mayer Corp., US 1929)1'58"
Little is known about this early M-G-M Colortone short. Director Gus Edwards was signed by M-G-M to aid in the supervision and
composition of the studio’s cabaret and musical comedy sequences. One of the products of this relationship was the Gus Edwards’
Colortone Revue, a series of themed musical shorts employing the use of Two-Color Technicolor and early sound technology. Song
of the Roses was one of the earliest musicals issued under the Colortone banner. The one-reel short featured a variety of song
and dance numbers performed in a flower garden. Interestingly, the set appears to have been re-used for the “Orange Blossom Time”
number that was featured in The Hollywood Revue of 1929.

THE SHOW OF SHOWS (Warner Bros.1929) 4 Seconds
Among the George Eastman House’s collection of nitrate fragments was the opening shot of the “Curtain of Stars” vignette from the
end of the film. Literally a long shot of a velvet curtain opening across a silk “star curtain” featuring the heads of the film’s
stars: Frank Fay, Patsy Ruth Miller, Lloyd Hamilton, Beatrice Lillie, Georges Carpentier, Myrna Loy, Nick Lucas, Louise Fazenda,
Chester Morris, Irene Bordoni, Ted Lewis, Dolores Costello, Jack Mulhall, Alice White, Richard Barthelmess, Lila Lee, Douglas 
Fairbanks Jr., Lois Wilson, Monte Blue, Loretta Young, Ben Turpin, Grant Withers, Rin Tin Tin, Winnie Lightner, Lupino Lane, Chester
Conklin, John Barrymore.

THE MYSTERIOUS ISLAND (Metro-Goldwyn-Mayer Corp., US 1929) 17 Seconds
The Mysterious Island had a troubled production history from the start. Shooting began in 1926, using a script closely following 
Jules Verne’s original source material. However, the production was forced to shut down after a devastating hurricane hit the Bahamas
location filming, and the film’s first director, Maurice Tourneur, and his replacement, Benjamin Christensen, left following creative
differences. Drastic rewrites followed and producer-director Lucien Hubbard was brought in to rescue the film. The story and characters
were completely changed (so much so that they bore little resemblance to Verne’s novel) and practically all the existing footage was
reshot. The completed film premiered in late 1929 as a part-talkie with approximately 80 percent of its running time in Technicolor.
It was considered lost until the late 1960s, when a black and white copy was discovered and subsequently preserved. This brief fragment
contains the last two shots from Reel 5 in Technicolor, as Dakkar (Lionel Barrymore) is rescued after being held captive by the evil
Falon (Montagu Love). 

AND HOW (Warner Bros. Pictures, US 1930) cast: Ann Greenway. 1'04"
An excerpt from a one-reel Vitaphone musical comedy short based on the sale of Manhattan to Dutch traders by the Lenape Indians.
Starring singer Ann Greenway, this short was praised for its brilliant use of Technicolor, with one contemporary reviewer from Film
Daily referring to it as “one of the most beautiful color shorts this reviewer has focused eyes on”. Preserved from a mute print, this
short fragment represents what is believed to be the only existing visual material on the film. Although incomplete, the sequence 
showcases the elaborate backdrop and vibrant chorus that had initially garnered And How praise over 80 years ago. 

THE JAZZ REHEARSAL (Warner Bros. Pictures, US 1930) 44 Seconds
The Jazz Rehearsal is one of 23 all-Technicolor Vitaphone shorts produced by Warner Bros. during 1929-30. The film follows the
shooting of a musical on a busy Hollywood sound stage. In this mute excerpt, vaudeville performer and film comedian Neely Edwards
supervises a song and dance number from his director’s chair. (Caroline Yeager, James Layton and Josh Romphf)