Theda Bara’s enigmatic figure is well known to many classic film buffs — and thousands more who’ve become fans upon learning of the original vamp. Her works, great and small, exist only in the memories of the few who were lucky enough to see them, with most of us learning of her from old publications, copies of review clippings, mentions in movie lore, and/or faded photographs. Her image continues to be reprinted even today for fans, most of whom likely never fell in love with her on the screen — this because no known prints or copies of her films exist for us to watch.

Many of the old films, like Theda’s, were purposely destroyed — either for recycling of the precious celluloid, or thrown out as too old-fashioned as the talkies came in. Even more recently, as I’ve said before, films were tossed due to storage issues. But even those films not destroyed on purpose are becoming lost to us.

Each year more old films — from those great classic films we’ve heard of to little known documentaries and film shorts we’ve never heard of — are deteriorating faster than archives can preserve them. No one knows the exact number of films lost, or the rate at which they continue to be lost, but it is estimated that only about 20% of the silent features have survived.

What little remains of these films, be it vintage movie picture magazines, original photos, ephemera and (dare to dream!) film props, all becomes hideously expensive. What’s a poor collector who’s in love with say, Theda, yet who cannot compete with richy-rich collectors to do? And even if the National Film Preservation Foundation (NFPF) manages to save films, what of the other stories of the making of these films? What of the film stars and directors themselves?

Whether you are able to afford (or lucky enough to stumble into) some of the gems of classic film collecting — or not — there’s a publication which preserves the legends and lore of classic film.

Classic Images began in June, 1962 as The 8mm Collector. But as the technology and the collecting habits of classic film buffs grew, founding editor Samuel Rubin changed the name to Classic Images to reflect these realities and adapt to those changes. What the publication is now is a monthly magazine, published on newsprint, devoted to all things classic film.

Now when I, and new editor Bob King, say ‘classic film’ we don’t just mean silent films, or the highbrow movies that film connoisseurs crave. Oh, no. Along with H.G. Wells and Charlie Chaplin you’ll find articles on Boris Karloff and Rin Tin Tin too. Nearly any flick made from the start of film through 1960 or so is fair game.

Yes, there are biographical articles. Yes, there is movie history. Yes, there are photos. What would be the point of the publication without them? But these are no ordinary articles; these are delicious meals for those who hunger for more film knowledge.

Writers for Classic Images have included Leonard Maltin, Max Pierce, Herb Fagen, and, my favorite, Eve Golden.

There’s also coverage of events that the average person may not know about, which if aren’t already the lifeblood of film fans they will be upon discovery of them. Classic Images not only alerts you to such events as Cinecon, Capitolfest, and the Hollywood Poster Auction, but gives them review and editorial coverage as well. Ditto news and notes on the latest DVD releases of classic films as well as biographies and other books of interest to film fans. Sadly, obituaries are a necessary part of the publication.

Nearly everything you could demand of a classic film publication is present in Classic Images. For me, the only thing missing are nice glossy pages. I’m a sucker for sexy magazines like that. But it’s a small petty thing to ask for when each issue is so voluptuous as it is. (Still, I remain small, petty — and hopeful that one day it will be a sexy glossy magazine.)

As you can imagine, past issues of the publication are themeselves becoming collectible. The website does sell past copies as well as photocopies of past articles, and eBay has a few from time to time; but most who get copies keep theirs. And why not? It’s lovingly created and feeds the souls of those of us who only wish we could have seen these films, made our own scrapbooks of these stars, back in their heyday. And it gives collectors great ideas for more to covet… Ads and classifieds included.

The quality of the authors and the passion of the editor makes this publication worthy of researchers as well as collectors. I presume this is why Classic Images has an online subscription archive service. (However, I was disappointed with it as it only goes back two years; a better bet is to buy back issues or copies of articles, as necessary.)

For those of us who feel born-too-late, or who just can’t help but fall in love with a dame, a bloke, or a story from the early days of film, we can thoroughly enjoy a subscription to Classic Images. It would make an excellent gift for those on your holiday gift list who are movie buffs and/or fans of the Golden Age — of any vintage — of Hollywood. And don’t forget the collectors of pop culture; they’ll dig it too. (Amazon also offers subscriptions to Classic Images, providing an easy way to put it on your wishlist.)

Bonus: If you’re in the US and you’ve never subscribed before, the publishers will give you a free copy!

But honestly, you don’t need a complimentary review copy. Just take my word for it: Classic Images is a must have.

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