During the ensuing conversation on the ridiculous nature of stars "nowadays," I began to recall the ridiculous and tragic behavior of stars "back in the day" as well. Here are 10 celebrities and their scandals you may or may not be familiar with. Mabel Normand - was one of the most popular comediennes of the silent era. After embarking on a relationship with legendary director Mack Sennett, Normand worked side-by-side with other notable and scandalous stars such as Charlie Chaplin and Fatty Arbuckle. In , after her relationship with Sennett dissolved, Normand descended into alcoholism and narcotics abuse. Eventually pulling her life back together, Normand became the last person to see director William Desmond Taylor alive see below , after Taylor was shot and killed only moments after Normand left his Hollywood home.
The 101 best sex scenes of all time
Ten X-certificate moments in silent cinema | Silent London
We may live in the era of Fifty Shades , but Hollywood movies haven't always been so liberal when it comes to depicting sex. Still, for as long as there have been moving images, there have been directors pushing the proverbial envelope—and by , the world of cinema had what's generally considered to be the first true movie sex scene. Let's break it down, shall we? The scene in question is in Ecstasy , a Czech film because American filmmakers weren't ready to go there yet starring legendary actress and inventor Hedy Lamarr.
The 10 best silent films
City Lights was arguably the biggest risk of Charlie Chaplin's career: The Jazz Singer, released at the end of , had seen sound take cinema by storm, but Chaplin resisted the change-up, preferring to continue in the silent tradition. In retrospect, this isn't so much the precious behaviour of a purist but the smart reaction of an experienced comedian; Chaplin's films rarely used intertitles anyway, and though it is technically "silent", City Lights is very mindful of it own self-composed score and keenly judged sound effects. At its heart, Chaplin's film is a mismatched love story in the vein of DW Griffiths' Broken Blossoms, made some 10 years earlier, but Chaplin knowingly modernises it, moving the location from the seedy docks of Limehouse to the bustle of the city centre, where Chaplin's vagrant falls for a blind flower-seller. Indeed, the whole film hinges in some way on the Little Tramp being outside time: Chaplin deliberately plays him as a relic, a figure of fun for the street-corner newspaper boys, yet at the same time self-aware.
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