Paramount made some big promises when it announced the "Famous 41," but when ' 'Blood and Sand" came along it was even bigger than you had imagined. It broke records everywhere. Ct paramount Qidure Rpdolph yalentino Blood and Sand A Fred Niblc production. From the nov< by Vicente Blai Ibanez and t play by To Gushing. Scenario by Ju Mathis. And right on top o1 that came ''Man slaughter' ' — anothei smashing hit, ac claimed as DeMille'j masterpiece. Lots o people thought thai those two picture? could never be equal led the best apple? at the top of th( barrel. But— (see next page) Ct Q>aramountQ>idure Cecil B. DeMille's 'M^iriciaughter' th THOMAS MEIGHANTLeatrice Joy, Lois Wilson Adapted from ' Alice Duer Miller's book by Jeanie Macpherson. ZVt Scanned from the collection of David Pierce Coordinated by the Media History Digital Library www.mediahistoryproject.org Digitized by the Internet Archive in 2011 with funding from IVIedia History Digital Library http://www.archive.org/details/filmyearb1922192223newy ''The Old Home- stead," as big if not bigger, came along immediately and stormed the country. Everybody knewthen that no matter how big Paramount's promises were, the fulfilment would be bigger. a Cparamount Cpicture Theodore Roberts The Old Homestead A James Cruze production. Adapted from Denman Thomp- son's play by Perley Poore Sheehan and Frank Woods. And the high hopes that these three had encouraged were more than justified by "To Have and To Hold,'' with Betty Compson and Bert Lytell. The great organization behind Paramount is your guarantee that this dependable supply will continue. (see next page) By Mary Johnston. Scenario by Ouida Berg ere. (2 C/>aramount Cpicture George Fitimamices To Have and To Hold ' with Betty Compson and Bert Lytell ''Clarence/' another masterpiece, proved the laughing hit of the year. And all the other Paramount Pic- tures not listed here, proved worthy of the trade mark. The ex- hibitors who showed the ''Famous 41'^ hadn't a worry in the world. Ct C/>araniountQ>idure ^lliam deMille's 'Clarence" With Wallace Reid, Agnes Ayres and May McAvoy. By Booth Tarkington. Screen play by Clara Beranger. A George Fitz- Maurice production By Willard Mack Kick In,;' like the five just listed, is a picture which in any other season would have been the out- standing hit. But this, thanks to Paramount, was a season of record- breakers. And Para- mount has bigger plans for the future. More big promises— that will be kept! (X Q>aramounl Q>icture Kick In Betty Compjon, BertLytell May McAvoy Scenario by Ouida Bergere. FAMOUS PLAYERS-IASKY CORPORATION . — ADOLPH ZUKOP. P^.fid.At < FILM YEAR BOOK 1922-1923 ■« Replete with statistical data and other information of interest to all identified with the production, distribution or exhibition of motion pictures, in- cluding a complete record of all feature produc- tions of the year, recorded separately as well, under lists of productions, directors, stars and camera- men. This information should prove invaluable. // ts suggested that the Year Book be retained for reference purposes WID'S FILMS AND FILM FOLKS, INC. JOSEPH DANNENBERG President and Editor JOHN W. ALICOATE Secretary and Business Manager 71 WEST FORTY-FOURTH STREET NEW YORK, N. Y. 6411 HOLLYWOOD BOULEVARD HOLLYWOOD, CAL. WILLIAMSON UNDERSEA PICTURES "Most Fascinating Attraction Ever Brought to the Screen" Under the title of "Submarine Photography — A New Art" The Scientific American gave its front page and leading article on this original accomplishment by J. E. Williamson Then followed: The Williamson Submarine Expedition Twenty Thousand Leagues Under the Sea The Submarine Eye The White Heather Girl of the Sea Wet Gold Wonders of the Sea "As thrilling as the most sensational melodrama." N. Y. Eve. Mail Coming: "UNDERTOW" Story by E. Lloyd Sheldon Index Admission Tax Figures 352 Al Lichtman Exchanges 155 Allied Amusement Industries. . .336 Allied Film Laboratories Mem- bership 334 Afifiliated Picture Interests of Los Angeles 300 American Society of Cinemato- graphers 161 A. M. P. A 343 Assistant Directors Asso 399 Authors League of America. . . .161 Better Films Movement 399 British Film Industry Gross. . . .409 Casting Agents 37 Cameramen and their Produc- tions Ill Capitol (New York) Record. .. .331 Censor Board Standards — District of Columbia (Police). 338 Kansas 338 Chicago (Police) 338 Maryland 339 Ohio 339 Pennsylvania 339 New York 340 Texas (Dallas) 340 Virginia 340 Ontario (Canada) 340 Quebec 341 Australia 341 London 342 French and Italian Standards. 342 Philippines 343 Holland 343 New Zealand 343 Chautaqua Circuits 429 Coming Year and Expressions on the Outlook 374 Chains of Theaters 278 Color Photography Progress in 1922 171 Contents of 1920 Year Book 301 Contents of 1921 Year Book 302 Clubs Listed by States 394 Directors and their Productions. 97 Department of Agriculture Re- leases 225 Distribution Percentage Table.. 173 Distributors Exchange Addresses. 187 Distributors of Non-Theatrical Pictures 307 Directors of Serials 428 Editors and Title Writers 161 Early Days in Australia 171 Exhibitors Accessory Buying Guide 251 Federal Trade Commission Work.372 Financial Statements — Famous Players-Lasky 335 Fox Film 336 Loew's, Inc 337 Pathe Exchange, Inc 338 Foreign — Germany 417 Czecho-Slovakia 419 Austria 420 Turkey 420 Jugo-Slavia 420 English Producers 411 English Importers 411 English Renters 411 Reports of Bureau of Foreign and Domestic Commerce. . .421 European Picture Theaters. 427 Canadian Import Tax Rul- ing 427 French Export and Import Figures 427 Secretary of Commerce Hoo- ver's Report on Foreign Business 427 Foreign Exchange Addresses of Important Distributing Co. 's. 407 Foreign Buyers 407 Foreign Market 403 40 Best Pictures of Year 350 First Run Houses 268 Film Editors 161 F. I. L. M. Clubs 175 Federation of Art 175 Freight Rates for Film Shippers.304 Film Deliveries, New York City. 387 Famous Players Theaters 305 "The Future," by Will H. Hays. 1 Golf Tournaments 396 Hoy Statement 267 Headlines of the Year 309 Independent Prod. Releases. ... 153 Ind. Prod, and Dis. Asso 155 Important Legal Decisions — Nathan Burkan 365 Arthur Butler Graham 368 House, Grossman & Vorhaus.368 Louis Innerarity 368 Elek John Ludvig 369 William M. Seabury 369 Important Legal Holidays 334 Independent Exchanges and Productions Handled 207 Incorporations of the Year 295 Key Cities with Important Near- by Towns 177 Loew's Allied Incorporations. . .373 Laboratories 165 Los Angeles Affiliated Picture Interests 300 List of Clubs, Societies and Unions 394 Lyceum Bureaus 397 Motion Picture Publications. . . .353 M. P. T. O. A. Officers 267 Motion Picture News' 12 Most Important Men 267 Music Publishers, Tax Free and Otherwise 243 M. P. D. A 398 Motion Picture Actors Asso 399 National Park Service 354 Newspaper Syndicates 344 New York City Film Deliveries. 387 Non-Theatrical Picture Distrib- utors 307 Officers of the M. P. T. O. A.. . .267 Operating Costs, 10 Years' Com- parison 245 Pennsylvania Non - Theatrical Regulations 343 Percentage Tax to Admissions.. 334 Productions of Year (together with name of releasing com- pany, release date, names of star, director and date of re- view) 41 Picture Making in South Africa. 31 Projection Rooms, New York. . .159 Play Brokers, New York. ... 159 161 Productions of the Year (com- pany releases) 91 303 Periodical Literature Regarding Industry 35^5-383 Moving and Talking Pictures. 356 Actors and Actresses 356 Moving Picture Industry.. ..356 Church Work 357 Education 357 Not in America 357 Plays 357 Photography 357 Sets 357 Pictures and Morals 357 Acting 357 Under Sea Photography 357 Censorship 383 Personnel of Important Produc- ing and Distributing Organ- izations 384 Production Cost Sheet 167 Producers of Short Reels 169 Productions Distributed by In- dependent Exchanges . . . .207-387 Productions of the Year 95-303 "Romantic History of Motion Pictures" 9 Releases of Independent Pro- ducers 153 Releases of Department of Ag- riculture 225 Rental Tax Figures 352 Report of Cinema Club, Cleve- land 383 Resume of Hays' Organziation Work 331 Scenario Editors 37 Stars and their Productions 105 Scenario Writers' Productions. . 119 Serial Outlook 333 Studio Props, Furniture, Cos- tumes, etc., Hollywood 157 Studio Props, Furniture, Cos- tumes, etc.. New York 159 Some Men You Know (Photo- graphs) 359 Statistics of the Industry 331 Supply Dealers 237 Studios, West Coast 163 Studios, East 163 Serial Directors 428 Short Subject Releases 196 Societies Listed by States 394 Seating Capacities, Broadway Theaters 401 Statistical Table 405 Tarifif Rates 352 Ten Best Box Office Titles 428 Ten Best Pictures of 1922 345 10 Best Plavs 350 10 "Best Sellers" 350 Titles and List of Over 4,000 Features Released from Sept. 1919, to Jan. 1923 125 Terry Ramsaye's "The Roman- tic History of Motion Pic- tures" 9 Theater Chains 278 T. O. C. C. (N. Y.) Membership. 247 Western M. P. Advertisers 344 What of Censorship? 379 Index to Advertisers A Abbey Pictures Corp 212 Adolfi, John 94 Allied Authors 4 Alt, Alexander 248 Alynlu Studio 236 Apfel, Oscar 126 Apollo Trading Corp 214 Archainbaud, Geo 188 Associated First National. . . 10 Atlantic Features, Inc 192 B Ballin, Hugo Prods 154 Barnes Printing Co 226 Barnes, Roy T 50 Beaumont, Harry 154 Bedford, Barbara 106 Beery, Noah 162 Bennett, Enid 16 Bennett, Whitman Studios.. 62 Bingham, E. A 118 Blythe, Betty 160 Boyle, Jack 39 Browne, L. A 124 Browning, Tod 40 Buchheister, Oscar C 244 Burr, C. C 210-211 c Caldwell, Fred 320 Campbell, Webster 166 Carewe, Edwin 6 Carey, Harry 14 Chaney, Lon 160 Chaplin-Classics 198 Christie Comedies 194 Claremont Laboratories 112 Circle Press 77 Cobb, Agnes Egan 216 Cody, Lew 72 Collier, Buster 232 Coogan, Jackie Prods 310 Craig, C 170 Creske-Everett, Inc 351 Cronjager, Henry 182 Crosland, Alan 48 Cummings, Irving 74 D Day, Shannon 284 Dent, James 75 Depew, Joseph 164 Distinctive Prods., Inc 2 E Earle, Ferdinand 32 Educational Films 195 Edwards, J. Gordon 20 Emerson, John 116 Evans, Madge 64 Export & Import Film Co... 402 F Far East Film Corp 408 Fazenda, Louise 162 Fischbeck Harry A 184 Folsey, George Jr 180 Fort, Garrett E 118 Fox, Wallace 178 Frazer, Robert W 174 G Garson, Harry 128 Garsson, Murray W 152 Gasnier Prods 42 Glennon, Bert 182 Goldwyn Pictures 8 Goulding, Edmund. . Inside Back Graf Prods 100 Graphic Photo Engraving... 77 Green, Alfred E 54 Griffith, Corinne 176 GriiTfith, D. W 12 Griffith, E. H 60 H Hass, Robert M 39 Hammerstein, Elaine 70 Hampton, Hope Prods 44 Harris Advertising Co 312 Hartigan, P. C 174 Hayward, LiUie 320 Heerman, Victor 68 Heibart, Holmes 52 llerz Film Corp 404 Holubar, Allen Prods 28 housman Comedies 202 Howells, D. P 406 Hull, A. S 180 Hutchison, Chas 192 I Independent Pictures Corp.. .208 Inspiration Pictures Corp.... 92 Inter-Globe Export Co 406 J Jawitz Pictures 308 Jones, Johnnie 186 K Kane, Gail 58 Kenyon, Robert 296 King, Henry 38 Klein, Edward L 410 Knoles, Harley 98 L La Plante, Laura 172 Lascelle, Ward 242 Lee, Rowland 190 Lichtman, Al Corp 150 Lloyd's Film Storage 358 Logan, Jacqueline 166 Loos, Anita 166 Lorch, Iheo 286 Lund, O. A. C 82 Lynch, John 122 Lytell, Bert 73 Mc McKee, Raymond 172 M Mackaill, Dorothy 170 Mason, Lesley 124 Melford, George H 34 Messmore, Herbert L. Co... 78 Milar, Adolph 176 Miller, J. Clarkson. . . 120 MiUigan, Carl 116 Montagne, Edward 69 Mortimer, Edmund 190 MuUin, Eugene 102 N Neilan, Marshall Prods 24 Niblo, Fred 16 Nigh, Wm 30 Noble, John W 242 o Overbaugh, Roy F 39 P Paramount Pictures Inside Front Cover & A. & B. Parsons, Agnes 126 Pause BiU 288 Photoplay Magazine 79 Powers Fourth Engraving Co. . 76 Principal Pictures 310 Prizma, Inc 56 Producers Securities Back Cover R Ray, Chas. Prods 26 Reed, Luther 122 Renown Pictures 212 Rex Film Laboratories 282 Roberts, Edith 168 Robertson, John S. Prods... 22 Rogell, Albert 178 Roscoe, Albert 106 Rothacker Fihn Mfg. Co 110 Rowland, Helen 164 Rubin, 1 250 s Scott, John D 184 Second National Pictures Corp 206 Security Trust 244 Seiter Wm. A 236 Selden, Edgar 64 Selznick Pictures Corp. 64A-64B Selznick, Myron 65- 65 Shearer, Norma 296 Shipman, Ernest 151 Silvera, G. R 80 Sloman, Edward 81 Smith, Jess 158 Standard Film Laboratories. 108 Stanley Company of America 238 Stanton, Richard 78 Staulcup Cinema Service, Inc 156 Stewart, George 286 Stone, Lewis S 284 Storey Pictures, Inc 202 Strauss, Wm. H 168 Superior Slide Service 77 T Tec-Art Studios, Inc lA-lB Technical Book Co 314 Terriss, Tom 46 Tilford Cinema 158 Truart Pictures Corp., Inc. .104 Tuers, W. H 186 TuUy, Richard Walton 234 u Unsell, Eve 246 United Studios 246 V Venturini, E. D 188 Vignola, Robert 18 Vogel, Wm. M 404 Volck, Adulbert George 67 w Walton, Chas 155 Warde, Reginald 408 Warner, Brothers 96 Washburn, Bryant 71 Weshner-Davidson Agency... 250 Whittaker. Chas. E 114 Williamson, J. E Opp. Index Winkler, M. J 200 Worsley, Wallace 36 Y Young, Jas 234 Young, Tammany 308 Young, Waldemar 120 z Zeidler, Crimen J 248 Zeidman, B. F 318-319 Zucker, Frank 186 The Outlook By Joe Dannenberg ("Danny"), publisher and editor of THE FILM DAILY G REAT in importance is the outlook for 1923. Troublesome, perhaps, as well. For the problems confronting all phases of the industry are many, and the agitation, on the eve of the year, is replete with pos- sibilities. Not the least of importance is the possi- bility of the development of a huge pro- ducing and distributing machine on the part of organized exhibitors. Officials of the Motion Picture Theater Owners of America are heading a movement which, during the year, may assume real proportions. If the movement develops, as many believe it will, it will assuredly urge material activity on the part of the present large distributing organizations. This activity may result in several definite moves, intended to offset the exhibitor-producing-distribution development. It may find a resumption of activity on the part of Famous Players in securing more houses for its product; it may find the Loew-Metro group active in developing further houses for the Loew chain ; it may find Associated First National suf- ficiently antagonistic to further develop the sub-franchise idea, and in addi- tion, movements on the part of the individual distributing companies — to say nothing of what may happen among producers — in an effort to sustain their existing organizations. Should the exhibitor movement fully develop it is a question at this moment, whether it could assume very definite form much before the Spring or perhaps the Fall season of 1924. Many cities have to be canvassed during the Spring; and assuming the capital of $5,000,000 is subscribed, or a suffi- cient amount to warrant going ahead actively, it will take time to secure productions, to build the necessary distribution machine and prepare the many cogs in the big wheel before it can turn. It is simple to discuss the idea of a production-distribution machine of this size; it is another matter to perfect it to the point of operating with a reasonable degree of perfection. There is probably no other matter of such proportion facing 1923. There are many thoroughly experienced men in the producing and distributing end of the business who look with trepidation at the exhibitor movement. They fear the consequences, and do not hesitate to say so. Among other possible developments they fear the possibiHty of a national booking organization on the part of certain distributors, several of whom were interested a few years ago in the proposed national booking plan developed by Jules E. Mastbaum of the Stanley Company of America. They do not hesitate to say that unless such an organization was operated to the utmost degree of ethical efficiency that it would result in grave difficulties; but they point to the unlikelihood of such a possibility, and immediately present the thought of difficulty devel- oping in the exhibitor organization from this very viewpoint. It is unfor- tunate that the ethical side of the industry has not been developed to a stronger point ; unfortunate for all parties concerned. HARMONY There is nothing at the moment indicative of a better relationship exist- ing between the exhibitor branch of the trade and the distribution and pro- duction end. All efforts to secure a better relationship between the Hays organization of producers and distributors, and the organized exhibitor body, have failed. The possibiHty of Roscoe Arbuckle returning to the screen furnished an opportunity for the officials and leaders of the M. P. T. O. of A. to vent their feelings towards the Hays organization in no uncertain terms, and the inability of these organizations to secure a standard form of contract, also demonstrated the existence of the wide gap which exists. No one with sane reasoning can figure why there should not be a better understanding between these pivotal branches of the industry. Indications, however, point to the continuance, if not a widening, of the existing breach. Unfortunate as this is, no one seems able to develop that degree of understanding which might change the situation. The politics of the exhibitor organization are largely responsible for this. But, in behalf of the exhibitor body, there is hardly a doubt but that they have grievances which should be satisfied. But the lack of confidence existing hardly warrants the belief that there will be a better understanding in 1923 than heretofore. PRODUCTION Production plans for the year are interesting. Probably nothing is of greater importance than the proposed working arrangement between Warner Brothers and David Belasco. If this works out as planned, and the master of the stage actively becomes interested in the screen production of his plays, a great step will have been made in bringing to the screen that artistry and charm which have always identified the Belasco successes on the stage. The ambitious program of the Warners is not a secondary phase of the outlook. Among the other "independent" producers whose plans are of importance are those of the Al Lichtman Corp., which secured an unusual start with the release of "Rich Men's Wives." The older companies present an interesting program. Famous Players will bank heavily on "The Covered Wagon" as one of their outstanding pro- ductions. At the moment there is no indication that the breach between Val- entino and Famous will be straightened out. Valentino quickly became a tremendous box office asset following his appearance in "The Sheik." Asso- ciated First National will continue to bank on the Talmadge sisters as their outstanding bet. Chaplin goes to United Artists during 1923. Goldwyn, practically reorganized, will depend largely on "The Christian" and possibly "Ben Hur" in addition to the Marshall Neilan productions for the coming year. The United Artists, with Fairbanks, Pickford and Chaplin on the pro- gram, in addition to the Griffith output, and with the Allied Artists co-related, promises to prove an important factor again. There has been considerable criticism of the policy inaugurated by Fairbanks and Pickford, of only having one or two pictures a year, big though they may be, and costly. Exhibitors contend that they would be far more helpful to the industry as a whole if they appeared oftener. As an instance to prove their contention they cite the rapid growth of Harold Lloyd, who stepped out vigorously during 1922 and established a prominence as a comedian which promises to give Chaplin much difficulty to maintain his standing as the premier comedian of the screen. Lloyd developed into a comedian of feature length pictures and the first few of his productions quickly gave him a forward place. Much will be expected of him during 1923. In his behalf Pathe promises much. Probably no other organization in the business developed such headway during 1922 as Metro. Only the tremendous success of "The Four Horse- men" prevented this organization from disintegrating. The success of the Ibanez production not only gave Rex Ingram a foremost position as a pro- ducer-director, but incidentally set Metro along the path of "big" pictures. In this they proved remarkably successful. All the Ingram pictures proved very successful at the box office, the Mae Murray productions proved an unus- ual success — and an unexpected one — and what with these and their "specials" Metro forged forward and became recognized as one of the companies from which much is to be expected during- this year. The Selznick organization expects "Rupert of Hentzau" to set them well up during- the year as an im- portant production organization. Practically every executive of importance has expressed the belief that "only big pictures pay." To this end producers generally directed their en- deavors. There were, however, during the past year a number of successes which prove the desirability of good pictures at a price to the exhibitor where- by he could establish a profit and yet at the same time satisfy his clientele. Universal Film, with "The Storm," demonstrated this most satisfacto- rily. This same organization has in contemplation for 1923 several produc- tions which thev think will meet with the same result, notably Booth Tark- ington's "The Flirt," made by Hobart Henley. In addition there is a strong possibility of Universal's big production of "The Hunchback of Notre Dame" being released during the coming year. For some time past Lon Chaney has keenly desired to make this. While the "big" specials of Fox Film failed in a way to prove the box office sensation comparable with those of 1921. there is no indication that Fox will step aside from the big special program for the coming year. The Film Booking Offices of America — the reorganized Robertson-Cole Corporation — has some ambitious plans including "The Third Alarm," a fireman's picture somewhat on the order of "In the Name of the Law," a policeman's picture, and it is understood that they are going into the rail- roads, the life of a postman and other such human subjects as part of their program. This type of picture invariably meets with success because of its common appeal. Vitagraph plans more important productions. The likelihood of Samuel Goldwyn's return to the industry as a producer is imminent at this writing. The development of Jackie Coogan is also fraught with interest. The success of "Oliver Twist" was unusual and established him definitely as a star. PRICES A long sustained and continuous wail was heard throughout the year and promises to continue relative to rentals on important and so-called big pictures. Many exhibitors feel that the prices asked are ruinous, but despite this they seem to continue to pay these prices. Naturally, thev continue to go up. On the other hand, producers maintain that while prices are high they are still below the level of what they should be to secure from these large productions the natural profit which the investment should produce. As an instance of this a prominent producer cited that it would take Fair- banks at least eighteen months or two vears to secure the return of the actual investment of "Robin Hood" before "he made a nickle." This despite that "Robin Hood" is being sold at unusuallv high prices by United Artists. FOREIGN PICTURES With the closing of the German branch of Famous Players late in the vear much of the talk in opposition to foreign pictures faded away. Little is feared today of what threatened to be "the foreign invasion." It is inter- esting to note, however, that the development of British production reached a point unusually worth while and interesting pictures reached this country from England, notablv "A Bill of Divorcement." scheduled for spring release by Associated Exhibitors. Information at hand as to the plans of several important English companies are indicative of large productions made with stars well-k-nown in America to arrive during the spring and summer. Among these are the Tom Terriss specials from Ideal Films and the Gaumont Companv of London. Stoll's picture. "The Prodigal Son," a well-known Hall Caine story, is anticipated with interest and there are others in the making. At this writing England, rather than Germany, seems to be the only possible rival of American production. / '^■ti }-: '^T- ^ ~jn| TECr^RT * STUBIOS * INC. Original Settings tha-t Are truti/ ' 2) is ti net ire ^ 6A aracteristic nPhe desire to make eachlEC-J^RT setltng a masterpiece, has so influenced our complete staff, that the spirit of our efforts is reflected in all our work. You put to work lioth creative abilily and pride in craftman^hip when you request the co-operation of such a, staff. Our facihttea are so orgam:ed. that every contract imtnaterial of size or kind., receives service that is trttl^ personal and individual. 318 East 48th Street 'y[{e»> 1/ork City VANSeRBILT 73 40 & 734-1 t^' 111 A i-> ORGANIZED and MAINTAINED and DEDICATED to the PRINCIPLE of DISTINCTIVE PICTURES Distinctive Picture Corporation 366 Madison Avenue New York City What John Milton did in the fight for freedom of the press; what Benjamin Franklin did; what was done by Horace Greeley, Charles A. Dana, Joseph Pu- litzer, Colonel Nelson, General Harrison Gray Otis, and by Henry Watterson, and what is being done by Cyrus Curtis and by other heroic figures in the long pull for finer and better service, and for con- stitutional protection of freedom of the press from the aggressions of political control — all those things must be done in the motion picture industry here and now. Pioneers Are Still in Business Nothing can be taken from the past. The men who first took up this new thing are still alive. The pioneers of our in- dustry are the men who are still in the business. We are at this moment in the very midst of achieving a new set of high standards in our relations to each other and to the public and in our responsibili- ties to the world. The difficulties are be- ing worked out, and so great an agency for good will the motion picture soon be- come, if sincere efforts count and sincere cooperation is given by thinking Ameri- cans— that before long criticism will die away and the present critics will be sounding the praise of this new art, based always on its demonstrated integrity, qualit}' and usefulness. One way to help make good pictures is easy, and that is to support the good pictures. If one were to start a vegeta- rian hotel, and day by day the guests were to storm into the dining room demanding roast beef cooked rare, this hotel keeper, though the most enthusiastic of vegeta- rians, would experience substantial diffi- culty in putting over a bill of fare con- sisting of asparagus. I an: not suggesting an alibi for the motion picture business, for the motion picture business is coming through on the highway which leads to better pictures. I am only emphasizing that this is not a one man job, nor the job of one group; it is the multitude's job and in doing it there is work for all. Censorship I refer for a moment to the question of censorship, which is an incident in the matter. The American public, of course, is the real censor for the motion picture just as it is for the press and the pulpit. The people of this country are against censorship fundamentally, against censor- ship of press, against censorship of pul- pit, and against censorship of pictures. But just as certainly, my friends, is this country against wrong doing, and the de- mand for censorship will fail when the reason for the demand is removed. As we move toward the consummation of the objects of our Association just in like degree will recede all demands for cen- sorship. An interesting thing happened in Mas- sachusetts at the last election. In 1921 a bill was passed by the Massachusetts legislature providing for the censorship of motion pictures. Under the provisions of a Massachusetts statute so providing, a petition was filed by the necessary num- ber for a referendum, so at this election the people of the Bay State had a direct vote as to whether or not there should be a political censorship of this method of expression. When the Act w^as originally passed there was a very generous support of the measure, and resolutions were actually passed by some 400 civic and religious organizations favoring the enactment of a law, and other great influences seemed to favor it. This summer, however, a citizens' committee was formed of some 300 splendid Massachusetts men and women, who made it their own fight. The Press of Massachusetts took it up and were practically a unit in declaring for the defeat of the measure. They too, made it their fight, with a full appreciation of the fact that it is not so much the length of the step as the direction of the step that is important in anything. It is a well known fact that the vote on any referendum question or const. tutional amendment is usually but a small part of the total vote cast for the political offices. Remarkable Result With this in mind, the result of this Massachusetts election was most remark- able. The total vote against censorship was 545,919, the total vote for censorship 207,476; a majority against censorship of 338,443. The largest number of votes cast for any candidate for any office on anj' ticket was that cast for the success- ful candidate for Governor, 468,277, which was 77,000 less than the "No" vote on censorship. I rather think this is an unprecedented performance. It certainly shows the deep interest the people have in pictures. This result is a splendid response to the appeal of the press and the citizens of Massachusetts against this undue political aggression, but just as certainly is it a challenge to the motion picture industry to work out successfully its own program for its own betterment, and that responsibility is accepted by the industry and -will be discharged. I am against political censorship, of course, because political censorship will not do what is hoped for it in the last analysis. Now and then some one might ask: "If the motion picture producers really mean to make better pictures, why do they object to political censorship?" The chief answer to this question was w^ritten when human nature was formed; at least that part of human nature which is doing business under the stars and FRANK E. WOODS THOMPSON BUCHANAN ELMER HARRIS Announce their association for the production of motion pictures under the title ALLIED AUTHORS stripes, and that answer consists chiefly of one word — Liberty. The motion picture business objects to political censorship for one great reason, because the motion picture business is an American. Political censorship drove the Pilgrims to Plymouth Rock; political censorship faced the Minute Men at Con- cord; political censorship caused the Bos- ton Tea Party; in this new effort to con- trol politically this great method of ex- pression Massachusetts took a character- istically splendid American position. There is one place and one place only where any evils in motion pictures can be eliminated and the good and great advantages retained, and that is at the point where and the time when the pic- tures are made, by the men who make them. Raising the Standards With the raising of the moral and ar- tistic standard comes with greater ease the development of the educational value of the motion picture. It must be and is the earnest purpose of the industry to strive with renewed effort continually to make presentations historically correct and to give authentic portrayals of cus- toms, costumes, and habits. In addition to the general educational value of entertainment pictures we are concerned, of course, with two additional phases; first, the pedagogic pictures, and then the picture which is semi-educational and semi-entertaining. I am very sure that soon there will be series of motion pictures adopted by boards of education just as new series of text books are adopted. They must be, of course, scien- tifically, psychologically and pedagogically sound. It has been my hope that we might immediately make some progress in this direction and we have been working to that end. At the annual convention of the National Education Association this summer in Boston, I suggested on behalf of our Association to some 3,000 teachers who were there representing a member- ship in their organization alone of more than 115,000, that we jointly study the demand for pedagogic pictures, and that we turn over to them all of our facilities to aid in the experimentation. I sug- gested that a committee be appointed by their association made up of the very best educators in the country, and that they meet with the great producers and together study the whole problem of the use of the motion picture as a direct pedagogic instrument and together find the means of making classroom pictures which would be scientifically, psychologi- cally and pedagogically sound, thereby being able to take care of the demand which now obtains, but also of the great demand which is imminent and which will certainly come and which must be met, and met by the producers with a supply that measures up to the ideas of the educators of the country. This offer was accepted by that convention, a com- mittee was ordered appointed, a com- mittee has been appointed, consisting in addition to Dr. Wm. B- Owen, President of the National Education Association, of the following: Dr. Charles H. Judd, University of Chicago, Chairman; Col. Leonard P. Ayres, Cleveland Trust Company, Cleveland, Ohio; Elizabeth Breckinridge, Principal, Louisville Normal School, Louisville, Kentucky; Ernest L. Crandall, (Director of Visual Education, N. Y. Board of Education), New York City; Susan M. Dorsay, Superintendent of Schools, Los Angeles, California; Elizabeth Hall, Assistant Superintendent of Schools, Minneapolis, Minnesota; Pay- son Smith, Commissioner of Education, Massachusetts. Affiliated with this committee will be the Commissioner of Education, Dr. J. J. Tigert and Dr. J. D. Creeden, President of Georgetown University. The pre- liminary meetings have already been held with the Commissioner of Education and Dr. Owen, surveys are now being made and preliminary organization perfected, and a joint mv^eting will be held soon. Non-Theatrical Field His Hobby The non-theatrical demand and supply is one of the big questions. Personally, it is a hobby with me, and from the time this work was first brought to my atten- tion until now I have urged constantly, both in public and in private, that there will be films in churches and schools everywhere. I believe this, and very much, indeed, has been done in the last six months toward developing a demand in this field. As I said in a speech at Boston before the National Education Association: "The^ problem which faces all of us is to provide some plan of cooperation which will provide film material for instructional use in schools and colleges, and suitable films for churches and welfare organiza- tions— some plan which will secure the active cooperation of theater owners and public leaders, and which will safeguard against harmful competition between non- theatrical and theatrical groups. These matters, which are merely incident to the youth and tremendous expansion of the business, can be worked out satis- factorily without question." The problem of semi-religious and semi-educational films is not so extensive as that of pedagogic films, but is much more difficult. Every one is for pedagogic films in the classroom and, of coyrse, there is no objection to purely religious films in the churches. The matter, there- fore, of pedagogic films and purely re- ligious films presents no problem save only the problem of providing an organ- First National Attractions 1922-1923 Edwin Carewe has produced more commercially successfuljpictures than any other director. "Give the public what they want" is his slogan. "Let them call me commercial if they will," says Carewe, "boxoffice value is what counts." ized demand and an organized supply. However, in developing the industry as regards an organized demand and an organized supply of semi-religious and semi-educational films there are definite economical duties and limitations that have to be recognized; there are also certain ethical and moral duties and limitations, and while w^e are continually encouraging the development of those phases of the industry and finding ways for the supply of the proper demand in that regard, we always predicate this interest and activity on the assumption that in such plans as are developed it will always be recognized that the theater owner has certain real rights in the premises, which rights would naturally be recognized first of all by those who are interested in seeing religious films. The fact is, of course, that the theater owner pays a national and state tax on his theater, a license fee, an extra insur- ance premium and other special levies in order to run his business and provide for the essential amusement of the people, and it would be obviously unfair to him to create a competition to draw the same audience, with or without charge, to see the same attraction into places which have no such burdens. Such a thing would neither be morally nor economically sound. Churches Need Pictures While this is true it is just as certain that there is an actual and potential need for pictures in churches, of the type which are thoroughly proper from every stand- point and which will do great good, and which need must be met. All the demand there is and the demand of tomorrow, which in my opinion is inestimable, can and will be taken care of in a way that will not be an injustice to the theater owner in any way whatever. Another effort which we are making is the development of the full usefulness of the motion picture as an instrument of international amity. Do not forget that just as there is developed between individuals a better relationship based on a better understanding, so is it between nations. Members of our association have taken — I say have taken — definite steps to make certain that every film that goes from this country abroad, wherever it shall be sent, shall correctly portray to the world, the purposes, the ideals, the accornplishments, the opportunities, and the life of America. We are going to sell America to the world with American motion pictures. I do not have to sug- gest to you the value of this in improv- ing our international relationships. The possibilities are as great as all the to- morrows. Immediate understandings with many of the foreign countries have to be worked out to protect us against the exploitation abroad of stolen films, and in all these matters our own State Department is cooperating splendidly. Work of Committee on Public Relations I would not fail to refer to the work of the Committee on Public Relations, which consists of the heads of 80 nationally organized associations for bet- ter things, such as Boy Scouts, Girl Scouts, Y. M. C. A., Camp Fire Girls, Parent-Teachers Association, etc., etc. Chambers of Commerce, American Fed- eration of Labor, etc., etc. This is a most interesting and, I am sure, profit- able arrangement. Following a meeting last summer of the heads of these associa- tions with me at which a committee of three was elected to aid in the selection of an executive committee of twenty, such committee of twenty has been formed with their own executive secre- tary, who is in our office as the point of contact. This executive committee of twenty, meeting frequently, are actually pre-viewing pictures and are making sug- gestions to our producers, bringing to the industry an inestimable value of brain and heart that could not be hired at any price, telling the producers what in their opinion are the needs, as well as the wants, of the members of the great organization which they represent, and they represent a total membership of over 12,000,000 — constructively suggesting betterments in the pictures and giving sympathetic encouragement and advice to the producers that reaches right back to the studio with a measurable influence on the productions as they shall come out. And then as the good^ pictures are pro- duced these representatives send tlic word to their organizations which will _ bring the support to which such better pictures are entitled. Think of the value of this influence which is constantly exerted, quietly and constructively, and how effective must be the association which these men and women are establishing with the control of the production in this country. Working With Exhibitors Our organization of producers and dis- tributors has had many conferences with exhibitors, bringing a closer cooperation and confidence and has had splendid help from them, without which our whole eflfort would fail. Just as other phases of the industry, in the rapidity of its development, have not been worked out in the fullest way, so has it been necessary to give attention to a better relationship with the exhibitor, who is the buyer of the product which the manufacturer, the producer, makes — a practical improve- ment, but definitely necessary to bring the maximum functioning of the industry's whole eflfort, because without the co- operation of all branches the largest suc- cess is not possible. It has taken over $20,000,000 in at the box office. It is the greatest motion picture property of all time! It is every great picture rolled into one! Wait till you hear Avho will direct it! Goldwyn is producing it! In addition to these efforts for new usefulness, we should not be unmindful of such things as have been accomplished in connection with better amusement pictures. At the end of the six months period since the organization of the As- sociation, it has been of some interest to the members themselves to review what has been attempted and to invite the attention of the public to the accounting. It was an earnest action indeed last May when the producers sent orders to the studios as to the pictures to be made this summer and to be made in the future, directing that above all things else the purposes of the Association be foremost. It means very much for the general good when these men who had the vision, the industry, the nerve, if you will, to have made this thing what it is in twenty years, now make it their chief business to estab- lish and maintain the highest moral and artistic standards. Beginning a new drive this year for the best possible pictures, measuring up toward what the standard should be and which many pictures already had achieved, earnestly asking the public's cooperation and hoping, of course, from every possible standpoint, selfish and unselfish, to move in the right direction, they have brought out, and are bringing out, a series of pic- tures which we are hoping will attract the public's attention, as the evidence both of their good faith and their ability to accomplish, and as an augury for still better things to which their every effort shall be directed. The maintaining of the highest standard is quite as essential as its attainment and there can be and will be no slipping backward, nor loss of any improvement that may be accom- plished. These pictures are being re- ceived in appreciation, and the public will not be unmindful either of the impossi- bility of pleasing every one with every picture or the necessity of different types of pictures for the various types of taste and interest. What Pictures Can Do I have come to visualize this great new thing as my attachment to it becomes deeper — I have come to know it as a great, unbelievably great, three fold in- strument for good. It can do three great things and it will do these three things as no other instrument that I know of can do them. In the first place it can and will fill a necessity — the necessity for entertain- ment. In the second place, it can and will instruct — which is indeed a most precious power. In the third place, and I am sure that my enthusiasm does not warp my judg- ment, it will do more than any other existing agency to unite the peoples of the world — to bring understanding between men and women, and between nation and nation, than which no greater thing can be done. "The Romantic History of Motion Pictures" (Through the courtesy of Terry Ramsaye, the author, and the publishers of "Photo- play Magazine.' pre presented excerpts from this remarkable and unusual document.) In April, 1922, when the first article appeared, it was anticipated that it might run through six or seven issues. The December issue found the material far from exhausted, however, bringinp: the history only to the period of about 1902. It is suggested, therefore, that this material be re- tained in conjunction with the excerpts of the remainder of the "History" to be published by Photoplay during 1923, which will be found in the next volume of The Film Year Book. Our beginning is the year of 1888, and the place is the experimental laboratories of Thomas A. Edison. Two years before, in 1886, Edward Muybridge, one of many investigators who had attained some prom- ising success with his experimental work in recording motion, had called upon Edison. Muybridge had made some pictures of a running horse, taken with a row of cameras, in California. He had arrived at an instru- ment for showing these pictures, producing in a highly limited way a sort of an illusion of motion. He called it the "Zoopraxoscope." He showed these pictures to Edison. T'-CTD-D Nothing seems to have developed out of that meet- TERRY RAMSAYE jng in West Orange at the time. Muybridge went back Author of "The Romantic to his laboratory at the University of Pennsylvania and History of Motion Pictures" went on with his experiments. FIRST NATIONAL PICTURES "^ First National First Keep your eye on First Na- tional pictures for 1923. We have a line-up of Box Office attractions that can't be beat. 22 for the first 6 months and more Big Ones to come. 10 Edison was not yet ready to take up any new problems. At this time he was r very busy with work on the phonograph. I * * * In 1888 a period of something like re- laxation in Edison's busy career arrived. He had done great things. The phono- graph was a definite commercial success, even though not entirely perfected. Also earnings were coming in from his electric light and power enterprises at a consider- able rate. There was time to play. * * * After some preliminary consideration Edison called to him a capable young Englishman, who had been on his staff of workers and researchers for several years, W. K. L. Dickson, a name to recur often and significantly in the first ten years of the motion picture. M\'sterious Room Five at the Edison lab- oratories at West Orange, Edison's favor- ite spot, was selected as the workshop for the picture experiments. Room Five was under lock and watch day and night. There was a little wicket in the door where materials could be passed in or word given out. Only Dickson and Edison came and went at first. Then presently one or two other workers were called at times to do their little bit and go. No one ventured there unless he were called. * * * By early autumn in 1888, the work had gone far enough to lead Edison to seek what protection there might be in the patent office by the filing of a caveat. A caveat was a process, now no longer in use, by which an inventor, having con- ceived an idea, could establish certain rights of priority and protection pending the working out of the project. * * * Other experimenters were busy. Wal- lace Gould Levison, in Brooklyn, was working with glass photographic plates on a wheel. Dr. E. J. Marey, in Paris, was making progress with a glass disc in a "photographic gun." Louis Aime Augustin Le Prince, in Leeds, England, was striving with a many-lensed camera and strips of sensitized paper. In Ger- many, Anschutz, an optical worker, was experimenting in the same direction. * * * Edison, who kept himself rather well informed, recognized at once the short- comings of these materials. He was to go an independent way. But the impress of the phonograph idea was deep, and it is with no surprise that, now after years we are permitted to sur- vey the secrets of Room Five, we find Edison's first motion picture efforts con- cerned with trying to make pictures on what was practically a talking machine cylinder. The cylinder machine would make pic- tures, but they were exceedingly poor pictures. The first acting for the motion pictures took place before that absurd little phono- graph that was trying to be a camera. The First Actor And the first actor was Fred Ott, a mechanic and member of the staff, chosen because he was the jester of the works. There were two Otts on the staff, John F. and Fred. And since Fred was the first of all motion picture actors, it is perhaps an obligation to history to set down how he happened ther' . « 4> * Mr. Ott, first of all screen stars, has officially told his own story of how be behaved before the camera on those his- toric occasions. The authenticity of this is guaranteed, under the oath of Ott, sworn as a witness in the case of Thomas A. Edison vs. The American Mutoscope and Biograph Company, in equity No. 8289, before the day of pictures press agents. "I had a white cloth wound around me and then a little belt to tie it in around the waist so as not to make it too baggy — look like a balloon — and then tied around the head; and then I made a monkey of myself." So the motion picture^ waa born in slapstick comedy, staged in that solemn laboratory. * * * At last the cylinder motion picture was abandoned. There must be a bigger pic- ture, which meant other methods. Edi- son decided. Then mysterious Room Five started to labor with attempts at some surt of film. A crude and flimsy tape of collodion, stuff like the liquid courtplaster that one puts on a cut finger, was made. It was rough and fragile, highly imperfect, but good enough to prove the correctness of the principle to the alert Edison. There were many more notes for the laboratory records. At about this time George Eastman, who conducted a business of manufactur- ing cameras and photomaterials, was putting out kodaks with paper films in them. Because of intricacies of the pro- cess the cameras had to be sent into the plant at Rochester to have the films de- veloped and the camera loaded again. Eastman knew that there would never be a big amateur business on that basis. He had to have something better than those complicated paper films. Out of his quest came Eastman's celluloid film, the kodak material of today. Edison, now keeping in touch with things photographic, dispatched Dickson to Rochester for a sample. Edison examined the film in Room Five. 11 The only absolutely new thing in pictures this year ''One Exciting Nighf ' D. W. GRIFFITH, Inc. A. L. GREY, Gen. Mgr. 12 "That' is — we've got it — now work like hell." And so it was that film came into the motion picture industry. This was early in 1889, perhaps a year after Edison's beginning on the problem. With that material in hand, Edison knew that the solution of the picture puzzle was but a matter of details. There were tremendous difi[iculties_ ahead, but now the basic quest for material had ended. * * * Among those early day itinerant phono- graph entertainers was Lyman Howe of Wilkesbarre, Pa. On a circuit through the smaller towns of his territory Howe gave phonograph entertainments in connection with Ladies' Aid Societies and church boards, dividing the profits with the churches. He was pioneering for a mo- tion picture business of renown, but he little suspected it then. At about the same time over in Paris an enterprising Frenchman heard about the wonderful Edison phonograph that had come to London. He was busy, but he had a young friend, one Charles Pathe, who had little to do. He pressed a bundle of francs in Pathe's hand and told him to go to London and get one of those talking machines. * * * But more important still to Pathe, he established a contact with the genius of Edison and the greater thing to come. * * * Meanwhile Edison came to the opinion that after all secrecy could hardly protect his invention much longer, and so August 24, 1891, he made application for a United States patent. How $150 Not Spent Cost Millions At this time it was suggested to Edi- son, as a matter of routine, at least, that perhaps application should also be made for foreign patents, including France and England. "How much will that cost?" Edison asked casually. "Oh, about $150." Edison waived the suggestion aside. "It isn't worth it." But if Edison, on that day in August of 1891, had said "Yes," he would have put himself in a position to get many, many millions of dollars in the foreign field. Also he might have withheld from a number of European opportunists a temptation to what may have been a lawful but an unmoral piracy. * * * The application for the patent for the kinetoscope was filed, the article goes on to say. In December of 1892, the photographic work in connection with this young kineto- scope demanded a building for itself — the first motion picture studio in the world. So work was started on a curious struc- ture, the like of which had never been seen before. It was a little house of light timbers and black light-proof tar paper, built on a turn table. The speed of photographic materials and camera lenses was much lower then than now and the snapshots for the kinetoscope had to be made in full light. There were thirty to forty pictures a second then. There- fore, the building was pivoted so that the tiny stage could always be turned to catch the sun, regardless of the hour of day. This little studio has survived in history as "The Black Maria." The "Black Maria," then known offi- cially as the "revolving photographic building," on the Edison account books, was completed February 1, 1893, at a total cost of $637.67. The making of motion pictures for ultimate public presentation was begun in that building. All picture making before that had been but the simplest of laboratory work for the test- ing of the machines. Early in 1893, the kinetoscope was shown to a scientific gathering at the Brooklyn Institute, and not long thereafter it was presented to the public for the first time as an exhibit at the Columbian Exposition, greatest of the world's fairs, held at Chicago. With this exhibition, trivial as it seemed then, the greater events of the history of the motion pic- ture had their beginning. There were a number of devices at the World's Fair that indicated how close the motion picture was then crowding its way forward into a part in the world's affairs. Among them was Muybridge's "Zoopraxoscope" and a machine rather closely related to it, called the "Tachy- scope." (Ramsaye tells of how J. Hunter Armat, his brother, Tom, Grey Latham, all names of importance in the early days of the development, after seeing the machine at the World's Fair, became interested in the idea.) By this time the Edison machine was rather automatically forcing its own career. A firm of promoters and ex- ploiters. Raff and Gammon, headed by Norman C. Raff, became the Edison agents for the kinetoscope with a plan for putting it before the public through the sale of the territorial or state rights on the exhibition of the machine. The year 1894 had arrived. Through the instrumentality of Raff and Gammon, the kinetoscope slot rna- chines were to cover the world with arcade peep shows and swiftly open the way for the coming of the real motion picture— the picture projected on a screen. By April 1, 1894, twenty-five kineto- scopes had been manufactured at a total cost of $1,227.48, and on April 6, ten of them were shipped across the Hudson to Holland Brothers, at 1155 Broadway, in 13 Releasing Through F. B. O. A. 14 New York City, the first customers of Raff and Gammon. A week later the filnis for the machines went forward. By this time Edison had invested a total of $24,118.04 in the motion picture business. In the next few years millions were to come back to him, and others who capitalized the opportunities opened by his efforts were to gather a great many mil- lions more. Ramsaye tells of how Grey Latham and Enoch J. Rector used the kinetoscope to take 1,000 feet of film showing a fight arranged between Mike Leonard and Kid Gushing. The film was shown in a "peep show" plan in New York and coined money. * * * S'O it came that one day in that fall of '94 Otway Latham prevailed on his father to come to the little shov/ down at 83 Nassau Street. "You see, if we could project that on a screen, like the slides in a stereopticon, there'd be a fortune in it." The young man was anxious to enlist his father's scientific aid. Empiricism could go no farther in this v/ork. "You can project anything on a screen that you can see with the naked eye and that can be photographed." Woodville Latham was very positive in his answer. He was also correct. The vision of the motion picture theater was then before them. They set to work to attain it. The making of the motion picture, which entertains twenty million people a day in the United States alone, had begun. (At this point Ramsaye saj^s Edison did not build a projection machine because he did not think it worth while.) With the completion of the kineto- scope, Edison paused. The next step, the step to the screen, so little to take and so great in its result, was left to others. It was as though Edison had exposed the ore of a gold mine and left it for any one who came along to dig. * * * Among others early to acquiie kineto- scopes along with the Lathams, were the two Greek speculators, who had seen the machine at the World's Fair. They hastened away to London with it and sought the services of Robert W. Paul, a mechanic famed for his skill. Paul had his workshop at the top of a three story brick tJiructure, at 44 Haddon Garden, in the midst of a busy district of minor manufacturers. There they took the kinetoscope and asked Paul to make them many duplicates of it. They saw money. Being a person of principle and caution Paul made inquiries, and found that the Edison machine and its wonder of living pictures had not been patented in the United Kingdom. This obviously left him legally free to execute the orders of his clients. So the duplicate kinetoscopes were made. The enterprising Greeks wcit out to startle Europe with their pictures. Meanwhile Mr. Paul poceeded to make many more of these machines on his own account and disposed of them to a swiftly growing trade Ramsaye tells of how Louis Lumire, of Paris, was working to wed the kineto- scope to the magic lantern; of Charles Francis Jenkins, a government stenog- rapher "was tinkering with photographic experiments and developing a growing interest in the kinetoscope," and how later Jenkins met Tom Armat and they went into partnership. H.- tells of how Dickson experimented at Coluinhia Uni- versity in 1894 working on an improved camera and failed. Dickson later became interested with the Latham'L' in their screen experiments and later there de- veloped the row between Latham and Edison. Meanwhile the Latham's staged another fight, between Battling Barnett and Young Griffo. Says Ramsaye. First Picture Run On Broadway May 20, 1895, the Griffo-Barnett fight went on exhibition to the public at 153 Broadway. It ran its flickering way in about four minutes. So the motion picture opened for the first of all first runs on Broadway. How far was that little four minute picture on the magic lantern sheet in a storeroom from today's motion picture mag- nificences of upper Broadway, with its multi-million dollar screen theaters! Simultaneously with that opening on lower Broadway the Lambda company started its commercial career by offering for sale state rights on the use of their projection machine. The Lathams started to build a number of machines and to make pictures to be shown on the new born screen. The beginning had been made. This was the founding of the motion picture industry. Potential millions of profits were waiting. At this point, Ramsay presents a very interesting "box" captioned "Historical Firsts," reading as follows: The first motion picture romance, in which handsome Grey Latham of Broadway found Rose O'Neill, a Mis- souri beauty, and brought her to New York to be his bride. The first motion picture exhibitor and states rights buyer, LeRoy La- tham, a nephew of Woodville Latham, inventor of the eidoloscope, who gave the first "store show" entertainment exclusively of films, in Norfolk, Vir- ginia, in 1895. The first appearance in the amuse- ment world of the late Bert Williams as a minstrel in the employ of William Selig's wagon show in California. IS LOUIS B. MAYER Presents A SRKIF.S OF FRED NIBLO PRODUCTIONS To be released by METRO FRED NIHLO ENID BENNETT who plays Maid Marian tn Douglas Fairbanks "ROBIN HOOD" V ^gi \. . W^\ it jP^,i ^ ?'. \ . i ^^» V ^vjSBl ^^ \ " '" ^Bl L^ fe^l^H t* ^ 16 The first motion picture presentation based on a popular song, "The Side- walks of New York," pictured by the Lathams in New York. The first motion picture advertising man, Henry Southall, a colored boy, who urged a handbill campaign on Le- Roy Latham. The first vaudeville act in a picture show, when Jack McConaughey, a cir- cus clown, padded the Latham show at Newport News, Va., with poses of "ebony statuary." The first Selig zoo, consisting of one Belgian hare, used by Colonel Selig in the famous rabbit-out-of-the-hat piece of parlor magic. How William N. Selig, a travelling showman and also a magician, got into the business is related, and also tells how George K. Spoor, then running a one night stand show in Waukegan, became interested in Edward Amet's inventions. Spoor financed Amet "on a basic invest- ment of $65." That was in 1895. Ram- say says that Spoor's fortune in 1922 was "something betw-een seven and ten mil- lion." Incidentally, the meeting between Amet and Spoor led to the development "of the one time powerful Essanay con- cern in Chicago." First States Right Sale In this chapter Ramsay draws atten- tion to the fact that the purchase of the Virginian territory by LeRoy Latham^ for the rights to use the eidoloscope, frorn Woodville Latham for $3,000, constituted the first states right sale in the film busi- ness. This show opened in Norfolk in June, 1895, and Henry Southall, colored,, through distributing the hand bills in- forming the public of the show, thus, ac- cording to Ramsay, "became the motion picture's first advertising man." South- all's salary was 50 cents a day, and his, duties included besides the distributing of the hand bills, usher, janitor, door-man,, electrician, part of the orchestra, and in- cidentally a valet to LeRoy Latham. From April to August in 1895, inven- tions of picture projection machines came fast. Priority became a matter of weeks and days, and when in later years rival claimants came to do battle in the courts. Some "Bison" Old timers 1, Charles K. French; 2, Charley Avery; 3, Frank Montgomery; 4, Evelyn Graham; 5, Maxwell Smith; 6, Tex Cooper; 7, Jewell Darrell (deceased); 8, T. K. Peters; 9, Major McGuire; 10, Red Wing; 11, J. Barney Sherry; 12, William Gibbons; 13, Marguerite Fa- var (deceased) ; 14, Jess McGaugh; 15, Young Deer; 16, Fred Balshofer; 17, Milt Brown. Published by courtesy of T. K. Peters, formerly of The Austin (Texas) Film Library. 17 and in controversies in the press it nar- rowed down almost to a matter of hours. Hence it has been with the utmost diffi- culty and the most tedious attention to contemporary records of corroboration that the facts of this history have been established. As pointing to the condition of motion picture annals and their color- ing by the ardent partisanship of con- testants for glory, it may be remarked that most of the records of past years are strewn with conscious and unconscious falsehood. An example of vivid signifi- cance is afforded among the archives of picture patent litigation in a drawing sworn to have been made in 1890, on a piece of paper manufactured in 1894, as shown by the watermark. * * * Looking into an old Edison catalogue one hnds among the picture players of 1895 some famous names. There was Dolorita, "the passion dancer," they called her, and Annie Oakley, the celebrated trap shooter, whose skill and grace with the shotgun thrilled a decade and a half of audiences at the Wild West shows. Pro- fessor Batty with his famous trained bears. Layman, "the man of a thousand faces," and the Englehart Sisters, broad- sword performers. All of them appeared in little pictures of from thirty-five to fifty feet in length — less than one two- hundredth part as long as the typical mo- tion picture feature drama of 1922. None of these pictures will ever be seen again. The negatives were utterly worn out in the making of kinetoscope prints. The First Close-up — A Sneeze At this point Ramsaye points out that the sneeze of Fred Ott in the kinetoscope was the first close-up ever shown in pic- tures, and that in addition the first scenario was "born" in this action. He also records of how Bert Acres, working in the Paul plant in London succeeded in making a projector that worked. Says Ramsaye: His pictures, like Edison's early films, were taken at the rate of forty exposures a second. His subjects included boxers, a naval review at Kiel, racing at Epsom Downs serpentine dancing and pictures of waves on the coast — the sort of things that were to be staple standards of the motion picture screen for a whole ten 3'ears or more. The Paul workshop in the fall of 1895 brought in a name that still survives in the motion picture industry — Cecil Hepworth, who invented a new type of electric arc lamp, one that could be operated by a handfeed instead of the automatic feed of older types. This en- abled the operator of an arc used for projection to continually trim his light and keep the glowing crater of the arc properly centered behind the slides in the projection lantern. Over in France, Louis Lumiere, or rather the brothers A and L. Lumiere, developed yet another motion picture pro- jection device and at such an early date that they are probably the closest in point of dates to ihe work of the Lathams ■n New York. Henry V. Hopwood s work entitled "Living Pictures," written not long after, says ttiat ilie Lumieres hied application for patents in France Febru- rary 13, 1895 and in England April 8, of the same year. These dates, it will be recalled, are close upon those of the laboratory suc- cesses of the Lathams. The filing of applications for patents and the physical matter of reduction to practice are dif- ferent matters, however. Louis Ducos du Hauron applied for letters patent on the wlioleidea of the motion picture back in the 60's, but he never became a real part of motion picture history because he never did anything more than think about It. * * * The Lumiere device was named by them the "cinematographe." The name is w'orthy of note because it survives in motion picture parlance as cinema or kine- ma all over the world, while the device Itself disappeared twenty years ago and the name of Lumiere is as unknown to the film industry today as Latham. For the sake of completing the record note IS to be made also of th fact that one Muller, a German inventor, applied for a patent on a projection machine in Germany, in August of 1895. But there IS no evidence that his machine developed into anything affecting the course of the art. To dispose of a frequent source of cavil- ing letters whenever any discussion of film history is published, it is now pointed cut that the work of Friese Greene, an English experimenter often cited as "the father of motion pictures" did not in fact figure in the development and application of the principles that make the motion picture. He did have a notion of making pictures in sequence. * * * At this point Ramsaye introduces Henry Norton Marvin of the Martin & Casler Company, of Canastota, N. Y., "a concern devoted to scientific work and experimental machinery." Marvin bought from a toy vendor one of the little batches of views joined together— the old zoetrope idea, and suggested to Casler to make a machine to flip the views faster, thus making a simpler machine than the kineto- scope. They worked out the invention. This machine, says Ramsaye, gave the same effect as the kinetoscope machine at vastly less cost and without all the intricate mechanism of the Edison device. This machine was the first model of the "Mutoscope," a peep show machine that made history. 19 J. GORDON EDWARDS Director Fox Film Corporation "Cleopatra" "Salome" "Nsro" "The Queen of Sheba" "The Shepherd King" IN PREPARATION ANOTHER BIG SPECTACLE 20 Marvin and Casler assumed that they would be able to get the pictures for their machines from the Edison establishment. By chance in this period Marvin met his old friend Dickson, tnen still with Edison. When he broached the subject of pictures from the kinetoscope for the newly inven- ted mutoscope Dickson shook his head. He knew Edison and he knew Gilmore, Edison's general manager. Inquiry at the Edison offices swiftly contirmed Dickson's opinion. No kinetoscope pictures could be had for any such purpose. This put the inventors, Marvin and Cas- ler, immediately against the necessity of making their own motion pictures. Right then and there was the motion picture's big moment. Out of that moment came the force that through a long dramatic series of sequences brought to the motion picture and its world all the glory, that was liiograph. * * * Marvin and Casler went into their laboratory at Canastota and set about building a camera that could supply pic- tures lo their mutoscope device. It was decided that since the little Edison films could not be had they would build a camera to take a larger and more satis- factory picture. They determined on a film picture two and three quarters of an inch wide and two inches high, giving an area of ap- proximately eight times that of the pic- tures on the Edison film. This was in the autum of 1894. The camera they built remarkably enough was widely different from the Edison machine in every detail, save that it used Eastman filnj as a photographic medium. * * * In April, 1895, Marvin and Casler's machine was ready. They took it out of doors into the sunshine and staged a boxing bout for the camera. They ground off the pictures. That night they de- veloped their negative and found it satis- factory. They had recorded a motion picture by a new method. The future of the mutoscope seemed assured. Other machines had to be invented as parts of the process, among them develop- ing devices and a printing machine to make the pictures on from the film nega- tive on mutoscope cards. The further problems of the mutoscope business appeared to be therefore, mainly photographic. Marvin looked about for a man who could contribute photographic experience to the work. And now again comes William Kennedy Laurie Dickson. (Ramsaye tells of how E. B. Koopman, a promoter, then interested in the Magic Introduction Company, was brought in and the famous K. M. C. D Syndicate was formed on Sept. 22, 1895.) The night of April 23, 1896; the Edison Vitascope — Armat design — went into ser- vice for its lirst public showing at Koster & Bials' Music Hall, at 34th Street and Broadway, winch is now a part of the site of the May Department Store. It was a milestone in screen history that night. All the theatrical world of New York was in that audience. They wanted to know about this newcomer. In the projection booth up on the bal- cony were four men, also names to re- member long in motion picture history. Thomas Armat was in charge of the show- ing. James H. White, who was destined to figure in picture production for years, Charles Webster, who took the Vitascope into Europe, and Percy L. Waters, a motion picture executive of note in the affairs of many concerns from the General Film Company to Triangle, were at the projection machines. They were all Raff & Gammon peep show experts drafted for this screen showing. They were mere operators then, nowadays known as pro- jectionists. The pictures shown were old kineto- scope subjects made for the peep show machines. The film was dull and merely translucent with a ground glass finish on the blank side. With the most power- ful arcs the pictures were dim and obscure as compared with the projection of today. They were wondertui enough then. Anna- belle danced on the screen. There were pictures of the English Derby, the waves at Atlantic City and a flash of a boxing bout. The subjects were about fifty feet in length, each. The late Charles Frohman was in the audience at the Koster & Bials' showing that first night. He was interviewed at length by the New York Times the fol- lowing day. In the course of his talk Mr. Frohman with rare vision forecast a great future for the motion picture. "The time will come," he said, "when all scenery on the stage will be eliminated. The actors will perform in front of a living scene thrown on the stage by means of these motion pictures." Mr. Frohman was correct, except that he did not foresee that the actors would be projected right along with the scenery. And today— Charles Frohman, Inc., the theatrical concern standing as a memorial to his genius, is in effect the property of Adolph Zukor, the proprietor of a little Chicago fur shop then, in 1896, the domi- nant motion picture figure of the world in 1922. The First "Location" — Mexico The first effort of a picture company to seek "location" came in 1895, when Otway Latham went to Mexico to "get" a bull fight and a religious festival. Ram- saye then records the downfall of the Latham's and the entry of "Pop" Rock, who bought the Vitascope rights from Rock & Gammon for Louisiana. There he met "Pop" Lubin, who was peddling 21 John S. Robertson John S. Robertson Productions "DR. JEKYLL AND MR. HYDE" "SENTIMENTAL TOMMY" "FOOTLIGHTS" MARY PIGKFORD in "TESS OF THE STORM COUNTRY" 1923 Productions for Inspiration Pictures, Inc. Beginning with Richard Barthelmess in "THE BRIGHT SHAWL" By Joseph Hergesheimer 22 smoked glasses at the Mardi Gras. He also presents Jimmy Blackton, then a cartoonist, for whom Edison had a great fondness, and Albert E. Smith and Ronald A. Reader, who "were disciples of the Great Herrmann" the magician. He also tells how the first censorship came when the Chicago press banned May Irwin's kiss. He points out that on June 29, 1896, the Eden Musee and Keith's Union Square presented the same program of motion pictures, for the first time in history; and how T. L. Tally, a cow puncher, seeing a Vitascope show, got into the business in Los Angeles. Says Ramsaye: Mr. Tally found that his patrons down in Spring Street were wary, about going into a darkened room to see pictures on the screen. To meet this condition he fitted up a partition with holes in it, fac- ing the projection room screen, so that patrons might peer in at the screen while standing in the comfortable security of the well lighted phonograph parlor. A real sport could put the phonograph tubes to his ears and look at the pictures at the same time. Three peep holes were at chair level for seated spectators, and four somewhat higher for standees — stand- ing room only after three admissions, total capacity seven. The price per peep holes was fifteen cents. The Tally showing was typical of the motion picture business of the west in that period. * * * He also presents Charles Urban, who in 1896, was a book agent, and later in the phonograph business, and who, with Walter Isaacs arranged to make in his New York shop a number of the new hand-driven projectors, to be known as the Urban Bioscope. Back in Detroit Mr. Urban cut loose from the Michigan Electric Company and turned to selling the Bioscope. This ma- chine was in all probability the first of its type, which soon became widely dis- tributed. The Bioscopes went as fast as they could be delivered. This machine offered the possibility of taking the new motion pictures out into the small towns and lumber camps. Dozens of "lecturers" went out equipped with Bioscopes and a stock of Edison films, which Urban continued to handle. It is a testimoni^ to the workmanship of Mr. Isaacs thalSone of the first Bio- scopes is still in service in the private editing room of the Urban establishment in New York, at the Masonic Temple, a skyscraper that rises but a fev/ doors away from the site where Edison films first went on the screen back in 1896. The little Bioscope has been across the Atlantic twice in its twenty-six years, and has twenty-three years of foreign service to its credit, It has outlived a half- dozen film corporations and with a drop of oil now and again it is good for another quarter of a century. * * * Later Urban joined Maguire & Marcus, agents for Edison films, and went abroad for them. He also introduces E. S. Por- ter, who, after three years in the Navy. got a job from Raff & Gammon, as a pro- jectionist. Of how later Porter and Harry Daniels bought the rights of the Projectoscope for the West Indies and made a big hit with the pictures down that way. He also introduces Col. Wil- liam Selig, who then working at 43 Peck Court, Chicago, saying: The early Selig pictures were made about the streets of Chicago and in back yards when it was desirable to escape the curious passersby. In this same '96, George Kleine, under the name of the Kleine Optical Company, in Chicago, started the sale of projection machines and films. He sold the Armat projector under the name of the Magnis- cope, and the new Edison Projecting Kinetoscope. * * * The Edison machine, involving me- chanical devices similar to those in patent claims of Armat, resulted in a long line of litigations. Armat started to fight. He was still fighting in 1908 when the famous Motion Picture Patents Company was formed, ending the controversy, with- out a final adjudication ever coming from the courts. Legally the issue between Edison and Armat will never be settled. But they are friends today, and most recently Mr. Edison has commented on the Armat Vitascope as the "first practical projecting machine." * * * E. B. Koopman, the financier of the K. M. C. D. Syndicate, which fathered the Biograph, sold stock interests in the concern to many important people in the financial world. One of the early stock holders was Abner McKinley, a brother of the candidate for the presidency. And to the American Mutoscope & Biograph Company at this time goes the credit for first photographing for the mo- tion pictures a world famous actor. Joseph Jefferson at his estate at Buzzard's Bay. posed for the camera in "Rip Van Winkle." The pictures were presented both on the screen and in the Mutoscope in many brief parts, each separately titled, as, for example, "Rip's Dream," "Rip's Awakening." A total of some eight or nine such snatches of drama were made with the distinguished Mr. Jefiferson performing. It is important to remember that the Biograph was using the picture of the same large size as the Mutoscope nega- tives, more than two inches wide and pro- 23 24 portionately high. This consumed eight times as much film in the recording of any given action as the smaller Edison standard films. This was a fact of vast importance and effect in future develop- ments. The Biograph projector, being operated on a friction drive roller principle, like the camera, required the constant atten- tion of a highly skilled operator. The company decided on a policy of supplying Biograph service only. No machines, either cameras or projectors were sold. The great widefilm with its large photo- graphic area gave an excellent quality of picture, probably much better than the Edison film product of the day, but the Biograph machines were far from fool proof. Any attempt at wide distribution would have been unwise. It would also have invited infringements. In this period William Bitzer, later famous as "Billy Bitzer, Griffith's cameraman" entered the service of Bio- graph and became expert with the com- plicated machines. Financing Porter's First Projector Ramsaye recounts how Porter, re- turning from the West Indies, gave the first show of advertising films on Broad- way, and was arrested for interfering with traffic. The billboard screen faced 34th St. and Broadway. Later, records Ramsaye, William L. Beadnell, advertis- ing man for the Eden Musee, financed the building of the first Porter projector, "the ancestor of the modern Simplex projector." He also records of how a travelling magician, "The Great Victor," became interested in pictures and opened Newark's first motion picture theater. It was the late summer of 1897. Victor canie across a merchant who had under lease a store in Market Street, which he was delayed in opening while waiting for stock. There the picture show opened with an Edison Projecting Kinetoscope and a miscellany of films, including "The Empire S^ate Express" and "The Baths of Milano." The the- ater boasted two hundred seats, and showed at an admission of twenty-five cents. But it proved necessary to strengthen the attraction by booking Bowman's Military Band. There was the embryo of the great orchestra idea of picture presentation of today. Some weeks later the show closed and became the first of the now nation-wide chain of Hilton clothing stores. * * * The account of the making of the "Passion Play," by Richard G. Holloman of the Eden Musee is recorded, and the fight with Klaw & Erlanger, who also had a like film. Later Col. Henry T. Hadley, "a spectacular evangelist of the day," used the film through the country. His was undoubtedly the first use of the motion pictures for propaganda, says Ramsaye. He records that Hadley's son is "Hopp" Hadley, well known in New York picture circles. At this point Ramsaye tells of Smith and Blackton starting together and mak- ing pictures after Smith built a camera. * * * Thereupon they repaired to the roof of the Morse building in Nassau Street, where they had a tiny office, and pro- ceeded to start operations on a subject to add to their program. They decided to call it "The Burglar on the Roof." Mr. James Stuart Blackton took the role of the burglar, the title role, if you please, in the very first production of an institution that has won immortality in picture annals. Mr. Smith as the me- chanical expert, operated the camera. Ronald A. Reader, their prestidigitator friend, and Mrs. Olaf Olsen, wife of the Morse building janitor, completed the cast. The picture was made in bits at lunch hours when the members of the cast had time from their work to appear at the "studio." It was completed in sixty-five feet and ultimately played all the "big time" in the United States. It was an episode, rather than a story, but it had the microscopic germ of the modern thriller. * * * How Urban, in London, developed the Warwick Trading Company and made a fortune is told. * * * In France in the year of '97 George Melies, a new figure and factor in film production, began a rapid rise with a novelty idea of introducing to the screen tricks of magic. Melies had been a stu- dent understudy of the celebrated Robert Houdin. His pictures found ready sale. Charles Urban was among his best cus- tomers. In the United States Melie's subject also attained an early popularity. American picture men were puzzled not a little at the mysterious results on the screen. The pictures caught on and to meet the demand in the most profit- able way, it must be admitted, the Americans copied or duplicated the Melies subjects with a gracious freedom. The method was simple. An original subject printed by Melies was_ put through the printing machine with a piece of negative stock. Thereby a nega- tive was produced from which any num- ber of "dupe" prints might be made. This practice grew general and common- place in the industry and in the course of two years came to be one of its greatest curses. Trademark and copyright ultimately came to check the abuses of the "dupers." In the beginning the mo- tion picture with no precedents behind it had almost none of the rights of property- 25 CHARLES RAY'S ANSWER Charles Ray in "The Girl I Loved" TO THE DEMAND FOR BIGGER AND BETTER PICTURES "A TAILOR-MADE MAN" 9 Reels "THE GIRL I LOVED" 9 Reels "THE COURTSHIP OF MILES STANDISH" Now in production — A mag- nificent historical drama based upon the thrilling experiences of the Pillgrim Fathers, and the beautiful love story of John Alden and Priscilla Mullins. Charles Ray is now limiting his output to two productions a year and giving them all the scope and quality of superspecials that ability, time and money combine to assure. PRODUCED BY CHARLES RAY PRODUCTIONS, Inc.. Los Angeles, CaL 26 How Lyman Howe developed his business, and how Marvin & Casler took the first prize fight pictures ui der hghts, is told graphically, and how the Spanish American war offered bait to the picture makers is also interestingly recorded, especially the Edward H. Amet picture of the sinking of Cervera's fleet at San- tiago. Picturizing the First News Event On March 17, 1899. the Windsor Hotel in New York burned and forty-five per- sons lost their lives. Blackton and Smith covered the fire with their camera, getting short bits of film showing the burning ruins. Probably for the first time the motion picture camera pictured news in the process of happening. How Rock and Smith and Blackton got together is shown, and how "Broncho Billy" Anderson was hired at $2 a day to make a noise like a locomotive is de- tailed by Al Harstn (now an exhibitor in Brooklyn). The First Back Lighting Ramsaye tells of how Porter, while photographing the Columbia-Shamrock boat race "shot" against the sun. Says the author: Back at West Orange the films were rushed through the laboratory and that night prints of the day's race went on the screen on Broadway. The Porter yacht- ing pictures were a revelation of photo- graphic beauty. He had not known that photography against the sun was impos- sible and had thereby discovered "back- lighting." The pictures were filled with wondrous reflections, the gossamer shadow traceries of the sails and the jewelled highlights of the rippling water. It was a new photo- graphic realism. Some of the news photo- graphers saw the films that night. Porter got along better on the referee's boat the next day. He had acquired a sudden pro- fessional standing. And the news camera men for the papers and magazines were tentativeh^ trying a few shots against the sun. The child motion picture wns teach- ing its ancestor, the still camera, how to make pictures. The process has con- tinued ever since. * * * All of the many legal battles that start- ed about this time are recorded. Also of how Wallace McCutcheon, Sr., was em- ployed by Biograph as really the first "director" for pictures in America. * * * How the motion picture reached Alaska during 1899 is then told. Tom Crahan came to Edison in behalf of the North- west Transportation Company, with a line of boats between Puget Sound and Alaska. He wanted motion pictures of the country made for general promotional purposes. Most especially they were to be shown at the Paris Exposition in 1900. And he wanted a wide film. Robert Bonine is recorded as the camerman of the expedition. Ramsaye then tells of how Harry and Herbert Miles, Cincinatti photograpliers, reached Nome. They made many pictures which were sent to the Biograph, New York, for distribution. Rex Beach is recorded as being in Nome at that time, as well as Jack London, and Jesse Lasky. who had grown impatient of the languors of Hawaii and the distinction of being the only white man in the Royal Hawaiian band at Honolulu. In Alaska, Lasky was one of the many who found gold but not enough. Leav- ing the diggings he went to Dutch Har- bor and, with a rented row-boat, ferried passengers from ships at anchor. Then with a hundred dollar push cart he went into the baggage business at twenty dol- lars a load. Presently between freight- ing and panning gold he found he had enough to book passage home. Ten years of experimenting with the destiny had to pass before Lasky was to join the industry of the "life motion pictures" that Miles Brothers were introducing in Nome. Back in New York important develop- ments were coming. The motion picture WIS on the verge of a rebirth, and a greater function than as the black tent novelty of the provinces and the chaser of the vaudeville show. The synthetic process of making news pictures as begun by Blackton and Smith in their destruction of Cervera's fleet and by Amet with the same subject and his "Execution of Six Boxers" was growing bolder. The Edison company went naively out to reproduce the Boer-British war, which was occupying a large and sympathetic attention in the United States. James H. White, of the kinetoscope de- partment, was the general in charge of military operations. The w^ar was con- ducted with several handsome stovepipe cannons mounted on carriage wheels and a pair of armies of Bowery drifters ar- rayed in costumes from the Eaves establishment. In very similar fashion Vitagraph con- ducted a war of its own across the veldt of Long Island. In this year of 1900 Vita- graph blossomed out from a verbal partnership into a corporation capitalized at $6,000, still owned, however, entirely by Blackton, Smith and Rock. The con- cern - signalized this step by moving its oflices, always a popular pastime with motion picture concerns. Established in the Morton building at 116 Nassau Street, they erected a stage on the roof and en- tered more seriously into fabricated pro- duction. Picture making on the Morton building roof was considerably complicated by the clouds of exhaust steam from the engine room in the basement. In a shifting wind 27 i A iriiiflil^ 1 L \ i 1 \ t» '-#1 1 { i \ 1 i '^'■■'^^4 ™ j r ALLEN HOLUBAR DOROTHY PHILLIPS in << << HURRICANE'S GAL" (RELEASED) THE WHITE FRONTIER " (FILMING) Distributed by Produced at United Studios Associated First National M. C. Levee, President Pictures, Inc. 28 the stage was often entirely obscured. Caught in a gust of steam, the director would cry, "Hold." Whereat the cast on stage would freeze motionless in the pos- ture of the moment, often tragically ridiculous. When the steam passed the camera started again. The studio pictures of this period were largely comedies of a violently extravagant type. * * * How Marvin tried to consolidate Bio- graph and Edison is told, but a bank failure broke the idea. How Percy Waters secured a big contract with Tammany Hall for the campaign of 1901 is interest- ingly told. Waters wanted the Republi- cans to use pictures in their campaign, but could not see the important people necessarv. ♦ ♦ ♦ With the campaign over Waters had on hand the biggest single stock of mo- tion picture projection machines in the world. The Kinetograph Company had them as a profit of the campaign since the contract had paid for them. For the first time the standard price of $125 for an Edison projector was cut. Waters offered his second hand ma- chines for about $85 each. They sold rapidly and spreading over the country became an important agency in the spread of the motion picture. A new attitude toward the motion picture was develop- ing, too, out of the experiences of the vaudeville theater managers in 1900 when the actors, under the leadership of George Fuller Golden, organized the White Rats and struck against the newly formed managerial combine. The motion picture saved the day for a considerable number of theaters would not have been able to open otherwise. The theatrical world was 'beginning to see possibilities in the pictures. * * * And here, unfortunately, the "History" ends for 1922. Another Group of "Oldtimers" The Pathe West Coast Company of 1910. Top line, reading from right to left, Messrs. Howland, Davis, Winneman, Jack Hoxie, Snow, House, Willis. Next line (reading down), Keith, Ridgeway, Biggie, Hay, Joseph DeGrasse, Peters. Third line (the ladies), Misses Austin, Bessie Eyton, Virginia Chester, and Red Wing. Bottom line, Charles K. French, Young Deer. Photograph through the courtesy of Charles K. French. 29 WILLIAM NIGH Director and Author of ''Notoriety'' '' Why Girls Leave Home'' ''School Days" 30 Picture Making in South Africa By Leander DeCordova The first time I went to hunt for a location in Africa where I was making pic- tures for the African Films Productions, Ltd., I was greeted by a sight few men in our line of endeavor get a chance to see. We were walking along a narrow ledge of a mountain, and down its sheer sides was a clear drop of several hundred feet into the Umgeni River, when we were stopped dead in our tracks by an unearthly throaty yell. It echoed and re-echoed through the hills. Our Zulu guide smiled a superior smile and pointed to about two hundred yards away, and there we saw a gorilla the size of any ordinary man walking away. He was tl'.e head of the scouts of the gorilla army. All of the monkey family have scouts who are always watching and standing guard over their colony, and "tip" the family when the road is clear to go ahead and make their hauls, for you must know that the monkey family at large love corn. So when the farmer wages war on them as he always does, he must match his wits along with Mr. Scout. This is an interesting fact: all monkeys can only count up to two, so when the farmer goes on a hunting expedition, he is accompanied by three others, and they hide behind a rock. Then, after a wait of about an hour, two of the party retire and Mr. Scout reports that they are all gone. Of course, when they come down to feed on the sweet "mealies," they are shot. Those that escape then tear to pieces the scout for giving the wrong information. We saw a lot of that sort of thing in Africa, but let me tell you of many of the difficulties we encountered. I took my camera man and assistant from America, and got my juvenile and leading woman in England, and the rest of the cast, I engaged in Africa. I was fortunate in securing there the services of one of the best "heavy" men I have ever known, a Mr. M. A. Wetherell, an actor of distinction in London, who was in Africa at the time. The rest of the company we will pass gently over; I drew from all sources, and even V. ent to the old men's home in Jo-burg (Johannesburg), in order to get the necessary tj'pes, as the so called actors could not put on beards or mustaches, and these were necessary as they had to play Boers. But my old men were O. K. I had to speak a little Dutch as that is all they understood. When they got on the set, they sat stififly as though they were in a portrait studio, but through liberal portions of whiskey and smokes of all kinds, and by getting chummy with them, I soon explained what I wanted, and they gave me the atmosphere that I required. On Their Way to Location. 31 Photo by Edward Curtis "The Rubaiyat of OMAR KHAYYAM" "Ferdinand Earle has set a new standard of production to live up to." Rex Ingram. "Fifty years ahead of the time." Marshall Neilan. "The best thing I have ever seen in pictures." Anthony Anderson, Art Critic of L. A. Times. "Up to date the greatest achievement of the cinema." Frank Keenan. "I never expected to see anything like this on the screen. America should be very proud." Theda Bara. "Without doubt the most magnificent and artistic picture ever made by anyone anywhere." Dannenberg in The Film Daily. In production "The Easiest Way" Goethe's "Faust" Assisted by Paul Detlefsen 32 Out on the "Veldt"— Note the Blacks Every morning we were up at 4:30, dressed by 5.00 and on location. In most of the places, we went into the kitchen and had our tea around the stove. Then we started our day's work by getting to location. In several of the places we had to walk or ride horse-back, as there were no autos or roads. One place that I have in mind was a spot called Waterval Boorn. It is just a railroad center with a so-called hotel, and we worked nine and a half miles away, and you had to foot it. ^ And such walkingl— over mountains and fording rivers over waist high. This spot is the starting of the low veldt where the big game abounds. So we packed fire-arms of all kinds. In our party were twelve whites, twenty Zulu hogs, ten horses and fourteen head of bullocks. Everyone in the party was on the alert for the momba snake, the most deadly in Africa, which hangs from the trees (they take the same color as the tree), and strikes at his prey while hanging. Thirty seconds from the time the momba strikes, is the finish of this sphere of consciousness for the individual. The nearest any of us came to it was when a dog sitting ten feet away from one of our party was killed. We worked on this location for ten days, and it took us three hours every morn- ing and three hours every evening to make the journey, as the going besides being rough, was at times dangerous, and with the horses and bullocks we had to be very careful; and the three ladies in our party required a great deal of attention. While at this place, we were treated in the most gracious manner possible by everyone, and at a S. A. O. P. (South African Police Post) located here, we were given treatment and attention worthy of royalty. Nothing was any trouble, and Sergeant Venter, Commander of the Post,_ presented me with an assagai which I treasure. He accompanied me on all of my trips to hunt locations in this section, and many times I've followed him on horseback through elephant grass so high that no man three feet away can see another, even though he be on horse-back. To give an idea of the country we were going through, the horses had to step down and over rocks nearly two feet high in most places, and the ledge we were on was but a foot and a half away from the brink of the mountain, so that a mis-step meant someone collecting my insurance. On all of these occasions, we drove with our left hands, and in our right, we carried a "45" colt ready for instant use. Many fine specimens of spring buck were shot on these little jaunts, but lions and cheetaho were seen; also a few leopards. At a farm in the Cape Province of some 33 George Melford Producer of "The Sheik," ''Behold My Wife" and ''Burning Sands' George Melford, Director Member M.P.D.A. George Melford Productions Robert Louis Stevenson's "Ebb Tide" Joseph Hergesheimer's "Java Head" In Preparation "You Can't Fool Your Wife" With Jacqueline Logan and Nita Naldi 34 25,000 acres, at a place called Swellendam, which farm was owned by a Mr. Barry, we' were working one morning, when we heard one of the cattle yell, and there was a leopard (they call them tigers in Africa), at the flank of the poor beast. Mr. Barry, who was with us, grabbed his rifle, and with a beautiful shot brought him down. He measured four feet, four inches from tail to head. In Zululand in Natal, one meets with a courtesy from the native, foreign to our so called civilization. From the moment he meets you his right hand comes to a Roman salute, and his "Cosa-Baba" (Big White Father) to "Sacabona" (Good Day, Sir), is a greeting of welcome of friendliness. Many times I've been entertained by the Chief of the Village, and such entertainment consists of meeting all of his kin in a large hut, and everyone sits around on the floor with their feet converging to the center where I would be showered with questions about America and the black race of our country. They spoke in Zulu, and I. by this time, was able to keep my end of the conversation going, as I had mastered most of the language, at least enough to get along with. When it came time to serve refreshments, one of the Chief's wives (he usually has six or seven), came in to the center of the hut, and boiled sweet potatoes were placed on a grass mat, and placed at your feet but a few inches away from the toes of a big Zulu. Not to eat would be the signal for a possible fight, as in Zulu etiquette that is considered very bad form. So you eat cold boiled sweet potatoes and like it, and if the smell of the natives bothers you, don't forget that the odor from our bodies is just as objectionable to them as their's is to us. On one occasion, I used over three thousand in our scenes, and one of my assistants got ill from their odor, but as there was a world of work to do, he forgot it and went to it with a will. In the big fight scene, I used buglers to let them know when to stop, but after they started to fight, nothing would stop them, and they got out of hand, and a real and bloody fight lasted for over an hour. Several of them got cut up pretty badly, and many more smashed each others heads, but thank God, no one got killed. All scenes requiring the use of large -numbers of natives must be made near Johannesburg, as it is impossible to get natives in quantities anywhere else. That state- ment, of course, does not apply to Central Africa, where different conditions prevail. At a place called Potiegersrut, which is in the lion country, I worked at a native village at Basotus. I was treated here the same as I had been treated at other places with a profound respect, and great attention paid to my comfort, I asked for a drink of water, and was ushered into one of the chief's huts, and in this native village of hundreds of souls, none of whom spoke a word of English but the chief, I came upon something which startled me into the realization of the understanding that time alone stands between us and entire civilization. On the wall of this hut, nothing was to be seen but a bit of paper, and I walked across to see what was on it, and was astounded to find it was a bit of Rudyard Kipling's. Out there, in Africa, miles away from any white people, The "Studio' 35 WALLACE WORSLEY Now Producing The Hunchback of Notre Dame With Lon Chaney Assistant Director JAMES DOUGAN 36 stood a philosophy marking time to the day when it would be understood by these dark skinned natives. We partook of a very palatable dinner of mealy meal (crushed corn), ground between two stones. Here the native women would not pose for the camera until ordered to do so by their chief, and when we departed every man, woman, and child in the village saw us off. No more moral people exist than these Zulus. The women are beautiful specimens, and in their native Kealls, wear the "moochie" which is but a kind of skin girdle around the waist. In that state, they live lives of purity, and seldom, if ever, are untrue to their husbands. But once get them in European dress, and in the towns, and the morals are all shot to pieces. It's a great country, Africa, and a great people who are hospitable and courteous; people who are never bothered to go to any trouble for you. The only place, that I encountered opposition to Americans and our methods, was by a few employees at the Studio. These few misguided individuals did all in their power to make life unpleasant for us and to roast our country and our pictures and us, but one swallow does not make a dinner any more than does three or four individuals make a country. SCENARIO EDITORS Key: C, slapstick comedies; S, material for our particular type of special production ; P, polite comedies ; D, straight film dramatic material, either tragic or comic. American Film Co., Inc. 6227-6235 Broadway, Chicago, 111.; E. Wigginton, Scenario Editor. S Art-O-Graf Film Co., 307 Guardian Building, Denver, Col. ; David W. Townsend, Scenario Editor. D for Violet Mersereau and Edmund Cobb. S Western. Artclass Pictixres Corp., 1476 Broadway, New York ; Scenario Editor. C D Astra Film Corp., Glendale, California; A. F. Dobson, Ecenario Editor ; C for Jimmie Adams. Atlas Film Corp., Newton Highlands, Mass. ; Ida Harrison, Scenario Editor. D Leah Baird Prod., Thomas H. Ince Studios, Culver City , Calif. ; Louis Weadock, Scenario Editor. S Bear State Film Co., 331 Citizens National Bank Bldg., Los Angeles, Calif. ; C. S. Harrison, Scenario Editor. D Blazed Trail Prod. Inc., 19 Elm St., Gloversville, N. Y. ; L. Case Russell, Scenario Editor; D (tragis) for John LoweU and Evangeline Russell. The Bray Prod., Inc., 130 West 46th St., New York City. Marguerite Gove, Production Editor. C. L. Chester Prod., Inc., 1438 Gower St., Hollywood; Mr. A. K. Weinberg. Charles Ray Prod., Inc., 1425 Fleming Street, Los Angeles. Hector Cloverio Prod., Lents, Portland, Ore. ; Lois Bain, Scenario Editor; P for All-Star cast — 1 reel domestic comedies. Cosmopolitan Prod., 127th St. and 2nd Ave., New York ; Verne Hardin Porter, Scenario Editor ; D (All Star Cast) S Douglas Fairbanks Pictures Corp., Hollywood; Lotta Woods, Scenario Editor. S Educator's Cinematograph Co., 70 Fifth Aye., New York ; Alfred H. Saiuiders, Scenario Editor S (Strictly Pedagogical). Fox Fibn Corp., West 55th St., New York, Hamilton Thompson, Scenario Editor ; D for William Russell, Eileen Percy, Shirley Mason, Buck Jones, Tom Mix. Fmous Piayers-Lasky, 485 Fifth Avenue, New York ; Julian Johnson, Editor. First National, 6 West 48th St., New York. Goldwyn Pictures Corp., 469 Fifth Ave., New York, Eugene Mullin, Scenario Editor. D S Graphic Film Corp., 729 Seventh Avenue, New York; Ivan Abramson : Room 711. D. W. Griffith, Inc., Mamaroneck, New York, Scenario Editor. S W. W. Hodkinson Corp., 469 Fifth Avenue, New York; Coolidge Streeter, Production Editor; D (Feature Plays) S Thomas H. Ince Studios. Culver City. Calif.; P. for Douglas MacLean ; D for Louise Glaum; S Louis B. Mayer Prod., Inc., 6 West 48th St., New York City ; Madge Tyrone, Scenario Editor. (Stories wanted for John M. Stahl Productions and Fred Niblo Productions.) Metro Pictures Corp., 1476 Broadway, New York ; Jasper Ewing Brady, Scenario Editor. S D Pantheon Pictures Corp., 149 Broadway, New York City ; Charles Miller, Scenario Editor. S Pathe Exchange, Inc., 35 West 4Sth St., New York; Gilson Willets, Scenario Editor; D (Serials) Post Pictures Corp., 527 Fifth Avenue, New York; Clyde E. Elliott, Scenario Editor; D (One Reel few, Characters mostly Exterior Settings). Renco Film Co., 724 So. Spring St., Los An- geles; H. J. Reynolds, Scenario Editor. F. B. O. of America, 723 Seventh Ave., New York; Nat Rothstein, Editor. Romayne Superfilm Co., Culver City; Golden Maxwell, Scenario Editor; D S (Western subjects; touches of humorous situations). n CASTING AGENTS (New York City) Bardine & Anderson, 723 7th Ave. Betts & Fowler, 1482 B'way, Bryant 5664. Brown, Chamberlain, Inc., 160 W. 45th St., Bry- ant 9130. Clarke, George, 145 W. 45th St., Bryant 9894. Hart, Max, 1540 B'way, Bryant 7403. Jacobs, Jennie, 114 W. 44th St., Bryant 2062. Kelly, Jack, 160 W. 45th St., Bryant 9186. Livingston, John J., 1440 B'way, Bryant 6243. New York Theatrcial Exchange, 1493 B'way, Bryant 7360. Packard Theatrical Exchange, B'way and 39th St., Bryant 5604. Sanger and Crosby, 9 W. 48th St. Small, Edward, 1493 B'way, Bryant 2389. Smith, Jess, 114 W. 44th St., Bryant 3782. Walton, Chas., 101 W. 4Sth St., Bryant 5741. Webster, Minnie E., 317 Strand Theat. Bldg., Bryant 1899. Weiss, Ben, 123 W. 46th St., Bryant 1878. Wentworth, Harry, 1493 B'way, Bryant 8476. Winter, Wales, 1476 B'way, Bryant 1833. Wolfe. Georgia. 137 W. 48th St., Bryant 5632. (Hollywood) Actors' Equity Ass'n, 6412 Hollywood Blvd., Holly 3821. American Society of Cinematographers, 6372 Blvd., Holly 4404. Artists' Booking Exchange, 6015 Hollywood Blvd., Holly 7950. Classic Film Actors' Agency, Grosse Bldg., 697-31. Condon, Mable, Security Bldg., Hollywood, Holly 5870. Farnum, Walter C, Grant Bldg., 635-20. Garwood & Hungate, 6548J^ Hollywood Blvd., 577-194. IngKs, Miss, 6324 Hollywood Blvd., Holly 700. Japanese Photo Players, 6238 Santa Monica Blvd., Holly 5954. Marsh & Walton, 1324 So. Figuerora St., 655-27. Screen Players" Union, 223 West 2nd St., Main 3825. Screen Talent, 312 West 2nd St., 607-55. Service Bureau, 1036 So. Hill St., 821-071. Studio Employees Local No. 33, 404 Bryson Bldg., Pico 283S. Technical Placement Bureau, Mechanical Help, 1036 So. Hill St., 821-071. INSPIRATION Has Selected to Make Their Most Pretentious Production Henry King Noted as the producer of "Twenty-three and One Half Hours Leave," "Tol'able David," "Sonny," Fury and other master successes. i^He will produce in Rome, Naples, Algiers, Tunis andjjother locations an Elaborate Creation. Stai^ring LILLIAN GISH in an artistic presentation of F. Marion Crawford's Famous Story "THE WHITE SISTER" With a notable cast of supporting players. C4 38 PICTURES, Inc. Charles H. Duell, Jr., President JOSEPH C. BOYLE Assistant Director-, who has been with Famous Players-Lasky, Constance Talmadge, TNTENT upon secur- A ing the best of united effort in their greatest pro- duction Inspiration, Inc., has surrounded Mr. King ^"^ '''^^' companies with a notable array of production talent repre- senting the foremost in their respective fields. JHHLX ROBERT M. HAAS, Art Director, formerly with Famous Players-Lasky; *'Dr. JekyllandMr. Hyde," "Footlights," ''The Gilded Lily," "Forever" ^and 7S others. Robert M.jHaas ROY F. OVERBAUGH, who photographed *'FootUghts," with Elsie Ferguson; "Dr. Jekyll and Mr. Hyde," with John Barrymore; "Sentimental Tommy' ' ; "The Bond Boy" and "Fury," with Richard Barthelmess. Roy F. Overbaugh 39 TOD BROWNING'S IMONEYMAKERS ^'WHITE^TIGER" "NO WOMAN KNOWS" ''UNDERiTWO^FLAGS" ''OUTSIDE THE LAW" * 'VIRGIN OF STAMBOUL" Proven Successes universal - jewei r eleases 40 The Year's Productions Alphabetically arranged list of features released from October 1, 1921, to January 1, 1923. Followed by lists of productions as released by various companies ; productions of individual directors ; productions of individual stars and cameramen. Key: FP-L, Famous Players-Lasky ; FP-L-R: Famous Players-Realart ; Gwyn, Goldwyn ; Selzk, Selznick Enterprises, includes Selznick Pictures, Select Pictures; Univ, Universal; Hdksn, Hodkinson ; Vita, Vitagraph; S. R, State Rights; Untd Art, United Artists; Al Prod, Allied Producers and Dis- tributors; 1st Nat, First National; Assoc Exhib, Associated Exhibitors; Asso. Ex.P: Associated Exhibitors-P.; FBO, Film Booking Office; FBO-G: Film Booking Offices-Gunning; Amer. Rel, American Releasing Corp. (Note: For further and complete information on Release Dates received after com- pilation of this list, see Company Releases.) Title Releasing Company Release Date Star Director Review Able Minded Lady, The.... ...Pacific-SR Henry B. Walthall No credit Above All Law (Reviewed as Mysteries of ...FPL India) 10-2-22 No star Joe May 7-30-22 According to Hoyle . ..Western-SR David Butler W. S. VanDyke 10-21 No star - W. Worsley 10-30-21 Across the Border . ..Aywon-SR Big Boy WUliams C. R. Seeling 1-29-22 ...FP-L 6-4-22 Wallace Reid P. E. Rosen 4-30-22 Across the Dead Line . . . Univ 1-9-22 Frank Mayo Jack Conway 1-8-22 ...Asso Ex-P No star John Holloway . . . Hdksn 9-24-22 Colleen Moore Ward Lascelle Afraid to Fight . . . Univ 7-24-22 Frank Mayo W. Worthington 7-23-22 After Six Days . ..Artclass-SR 11-1-22 No star A. P. Gariazzo After the Show ...FP-L 10-30-21 No star Wm. DeMiUe 10-9-21 Against the Law . . . Epco-SR No star Not credited Alias Phil Kennedy ...FB-OG 4-22 Wm. Patton Wm. Bertram . . . 1st Nat 7-22 Charles Ray Chas. & Al Ray Alf s Button ...1st Nat 11-21 No star C. M. Hepworth 3-19-22 ...1st Nat 11-21 No star D. Buchowetski 12-11-21 AU the World's a Stage . . . Principal Dorothy Phillips Colin Campbell All's Fair in Love . . .Gwyn 9-21 No star E. M. Hopper 10-30-21 Altar Stairs, The . . . Univ 12-4-22 Frank Mayo Lambert Hillyer 12-3-22 Always the Woman . . .Gwyn 7-22 Betty Compson Arthur Rosson 7-16-22 Amazing Lovers, The ...Jans-SR No star Not credited American Toreador , ..Anchor-SR No star Walter De Couroy- . ..Merit-SR Franklyn Famtmi Francis Ford 7-30-22 Angel of Crooked Street ...Vita 4-23-22 Alice Calhoun David Devar 5-28-22 Anna Ascends ...FP-L 11-20-22 Alice Brady Victor Fleming 11-19-22 Anne of Little Smoky ...Asso Ex-P 11-20-21 No star E. Connors l-lS-22 Any Night . . •Am'lgtd-SR 1-22 No star G. M. Anderson Another Man's Boots . . . Aywon-SR Francis Ford Wm. J. Craft 10-29-22 41 GA5NIER PRODUCTIONS Presented by B. P. Schulberg for Preferred Pictures Rich Men's Wives Thorns and Orange Blossoms The Hero Other Productions Kismet Good Women Silent Years The Call of Home 42 Title Company Releasing Date Rekase Star Director Review Date Another Man's Shofs. . . I'lllV 11-6-22 Herbert Rawlinson - Jack Conway 11-5-22 Any Wife 1-1-22 Pearl White Herbert Brenon Arabian Love Fox 4-9-22 John Gilbert Jerome Storm 4-2-22 Are Children to Blame?. Certified-SR \o star Paul Price Ashamed of Parents Warner-SR 10-5-21 No star H. G. Plimpton 12-18-21 Ashes East Coast-SR No star G. M. Anderson Amer Rel 11-22 Seena Owen Not credited At the Sign of the Jack O'Lan- Hdksn 1-22 No star L. Ingraham 1-22-22 At the Stage Door FBO 12-18-21 No star W. C. Cabanne 12-18-21 Bachelor Daddy, The. . . FPL 5-28-22 Thomas Meighan Alfred Green S-7-22 Back Pay FPL 1-8-22 No star Frank Borzage 2-19-22 Back to Yellow Jacket. Arrow-SR 3-14-22 Roy Stewart Ben Wilson Bar Nothin' 10-2-21 Charles Jones Edw'd Sedgwick 10-16-21 Barb-Wire , Arrow-SR 6-22 Jack Hoxie Frank Grandon , 1st Nat 1-22 Charles Ray Wm. C. Cabanne 10-9-21 Barricade, The FBO 10-2-21 No star Charles Ray Barriers of Folly Russell-SR George Larkin Theo. Rockwell Bear Cat The 4-3-22 Hoot Gibson Edw'd Sedgwick 4-2-22 Beautiful Liar, The 1st Nat 12-21 Katherine MacDonald Wallace Worsley Beauty Shop, The FPL 5-14-22 No star Edward Dillon 5-14-22 Beauty's Worth FPL 3-26-22 Marion Davies Robert Vignola 4-9-22 Belle of Alaska 3-S-22 Jane Novak FBO 2 -26-22 Be My Wife. ,Gwyn 12-21 (See 1921 Year Book) Not credited Beautiful and Damned, The VVarner-SR 10-1-22 Marie Prevost Bells of San Juan Fox Better Man Wins, The Sandford-SR 10-15-22 Charles Jones Sidney Franklin Scott Dunlap 10-15-22 Pete Morrison Marcel Perez 10-22-22 Beware of the Law Jawitz-SR No star W. A. S. Douglas Better Man, The. . Aywon-SR Snowy Baker Wilfred Lucas 11-13-21 Beyond the Crossroads Pioneer Ora Crew Lloyd B. Carlton Beyond the Rainbow Chester Bennett 7-16-22 No star Wm. C. Cabanne 2-26-22 Beyond the Rocks FPL S-7-22 Gloria Swanson Sam Wood S-14-22 Bigamist, The FBO 4-2-22 Ivy Duke Guy Newall 4-2-22 Bill of Divorcement, A Asso. Ex. BiUy Jim FBO 12-22 Constance Binney Denison Clift 10-15-22 1-29-22 Fred Stone Big Stakes , East Coast-SR No star Frank Borzage 2-12-22 Not credited Black Bag, The Univ 6-5-22 Herbert Rawlinson Stuart Paton 6-4-22 Blanchette .Photo Prod-SR No star Felix Barre 11-6-21 Blaze Away DiLorenzo-SR Big Boy Williams W. H. Curran 4-16-22 Blazing Arrows Apollo-SR Lester Cuneo Not credited Blind Circumstances C'k-Cornelius-SR 7-1-22 Geo. Chesebro Milburn Morante Blind Hearts 1st Nat 10-21 Hobart Bosworth Roland V. Lee 10-16-21 Blond Vampire, The FBOG 4-22 Descia Mooers Wray Physioc Blood and Sand FPL 9-11-22 Rodolph Valentino Fred Niblo 8-13-22 43 HOPE HAMPTON STARRING IN FIRST NATIONAL iPICTUKES 44 Title Company Releasing Date Release Star Director Review Date Bluebeard, Jr. .Amer Rel 3-26-22 No star Scott Dunlap Blue Mountain Mj^tery .FBO-G 5-22 Bernice Ware Raym'd Langford Bonnie Briar Bush, The .FP-L 11-20-21 No star Donald Crisp 12-4-21 Bobbed Hair .FP-L-R 3-12-22 Wanda Hawley Thos. N. Hefifron 3-26-22 Bond Boy, The .1st Nat 10-9-22 Richard Barthelmess Henry King 10-15-22 Bonded Woman, The .FPL 8-21-22 Betty Compson Philip E. Rosen 8-13-22 .FPL 2-12-22 Lionel Barrymore Tom Terriss 2-12-22 . Russell-SR No star Edw. Sedgwick Bootlegger's Daughter, The .Asso. Ex.-P No star V. Schertzinger .FBO-G 4-22 No star Roy Sheldon 4-12-22 . FP-L 7-30-22 Agnes Ayres Paul Powell 7-30-22 .Bert Hall-SR No star Lieut. Bert Hall Boss of Camp 4 .Fox 11-25-22 Charles Jones W. S. Van Dyck 11-19-22 .FP-L 4-16-22 Ayres — Holt Wm. DeMille 3-19-22 .FBO 3-5-22 Doris May Wm. A. Seiter 3-5-22 ..Lee-Bradfd-SR 1-22 Josephine Earle Not credited Brawn of the North .1st Nat 11-22 No star L'rence Trimble 11-19-22 Breaking Home Ties .Asso. Ex. 11-12-22 No star Frank M. Seltzer Geo. K. Rolands 11-26-22 Bride's Confession, The . Graphic 12-21 Rita Jolivet-Leah Baird Ivan Abramson Bride's Play The .FP-L 1-22-22 Marion Davies Geo. Terwilliger l-lS-22 .Vita 10-16-21 Earle Williams Robt. Ensminger 10-23-21 Broad Daylight . Univ 10-30-22 No star Irv. Cummings 10-29-22 Broadway Madonna, The .FBO 10-29-22 Dorothy Revier Harry Revier 11-29-22 Broadway Rose, A . Metro 9-25-22 Mae Murray Robt. T. Leonard I 9-24-22 Broadway Peacock, A . Fox 2-19-22 Pearl White Chas. Brabin 2-12-22 Broken Shadows .2nd Nat-SR 8-22 Isabel Elsom No credit Broken Silence, The . . Arrow-SR 5-1-22 Zena Keefe Dell Henderson 7-30-22 Brothers Under the Skin . Gwyn 11-19-22 No star E. M. Hopper 11-19-22 Bucking the Line . Fox 11-6-21 Maurice Flynn Carl Harbaugh 11-6-21 Bulldog Drummond . Hdksn 12-3-22 No star Oscar Apfel 11-26-22 Burning Sands ..FP-L JO-16-22 No star Geo. Melford 9-10-22 Butterfly Range , . Wm. Steiner- SR 10-22 Neal Hart Neal Hart Call of the Wild ..Pacific-SR 2-22 Frankie Lee Not credited Call of Home The ..FBO 2-5-22 No star Louis J. Gasniei • 1-22-22 Call of the North The ..FP-L 11-27-21 Jack Holt Jos. Henabery 12-4-21 Calvert's Valley . .Fox 10-9-22 John Gilbert Jack Dillon 10-8-22 Cameron of the Royal Mounted Hdksn 12-25-21 No star Henry Macrae 1-15-22 Cardigan . .,...^... .......... ..Amer Rel 2-19-22 No star John W. Noble 2-26-22 ..FP-L-R 10-21 Constance Binney C. M. Franklin 10-16-21 9-18-22 Franjc Mayo Lambert Hillyer 9-17-22 ..1st Nat 2-2 Teddie Gerard Jos. J. Franz 2-26-22 Certain Rich Man, A Hdksn 9-18-21 No star BenJ. Hampton 10-9-21 Channing of the Northwest, .t-.. Sefeif^-' ^—"- "^^O^K Eugene O'Brien Ralph Tnce 45 TOM TERRISS Director of over . i J Forty i Successes ,,^ Now Directing TERRISS PRODUCTIONS In England and the Continent 46 Title Company Releasing Date Release Star Director Review Dato Chain Lightning .Arrow-SR 4-25-22 Ann Little Ben Wilson 3-19-22 Challenge, The . Amer. Rel. 8-28-22 Dolores Cassinelli Tom Tcrriss Chasing the Moon .Fox 2-26-22 Tom Mix Edw'd Sedgwick 2-5-22 Cheated Hearts ■ Univ 12-19-21 Herbert Rawlinson Hobart Henley 12-4-21 Chivalrous Charley .Selzk 12-10-21 Eugene O'Brien Robt. Ellis Cinderella of the HiUs . Fox 10-23-21 Barbara Bedford H. M. Mitchell 10-30-21 Clarence .FP-L 11-20-22 No star Wm. DeMille 10-22-22 Colleen of the Pines .FBO 7-9-22 Jane Novak Chester Bennett 7-9-22 Clay Dollars . Selzk 10-20-21 Eugene O'Brien G. Archainbaud 10-23-21 . Lee-Bradf d-SR 2-22 No star Not credited Come On Over . Gwyn 3-22 Colleen Moore Alfred Green 3-19-22 . Selzk 12-20-21 No star Burton George 12-25-21 Conflict ..Univ 11-7-21 Prsicilla Dean Stuart Paton 10-30-21 Confidence .Univ 9-25-22 Herbert Rawlinson Harry Pollard 9-24-22 Country Flapper, The .Prod.Sec.-SR 7-30-22 Dorothy Gish F. R. Jones 9-13-22 Cowboy and the Lady, The . . . . .FP-L 10-23-22 No star Chas. Maigne 11-12-22 .FP-L 4-9-22 Ethel Clayton Paul Powell 3-26-22 Cradle Buster, The . Amer Rel 3-19-22 No star Frank Tuttle 5-28-22 Crimson Challenge, The • FP-L 4-23-22 Dorothy Dalton Paul Powell 4-23-22 Craven, The . H. Bolhnan Hans Mierendorff Hans Mierendorff . Pioneer No star Geo. Everett Cross Roads of New York, The :.lst Nat 5-22 No star F. R. Jones 5-28-22 .Asso Photo-SR No star Cliff Smith Crow's Nest .Aywon-SR Jack Hoxie Paul Hurst Crusader, The . Fox 9-10-22 Wm. Russell Howard Mitchell Cub Reporter, The . Goldstone-SR Richard Tahnadge Jack Dillon 9-24-22 .ApoUo-SR No star Harry O. Hoyt 9-3-22 .R H Klumb-SR 6-22 No star Not credited .FP-L 12-25-22 Agnes Ayres Paul Powell Dangerous Adventure, A . Warner- SR 11-1-22 Grace Darmond S.L.&J.Warner .1st Nat No star John M. StaU Dangerous Curve Ahead .Gwyn 10-21 Chadwick-Dix E. Mason Hopper 10-9-21 Dangerous Game, A .Univ 12-25-22 Gladys Walton King Baggot Daring Danger .Amer Rel 3-5-22 No star Cliff Smith Dangerous Little Demon, The. • Univ 3-27-22 Marie Prevost Clarence Badger 3-12-22 .Com-wealth-SR 3-22 Violet Hopson Walter West David and Jonathan .2nd Nat S-1-22 Madge Titheradge Dion Titheradge Dawn of Revenge .Aywon-SR Richard Travers Bernard Sievel Dawn of the East, The • FP-L-R 10-21 Alice Brady E. H. Griffith 109-21 .Fox 11-13-21 Wra. Russell Arthur Rosson 12-11-21 Desert's Crucible .Arrow-SR Jack Hoxie Roy Clements Deserted at the Altar Goldstone-SR No star Wm K. Howard A. Keeley 10-1-22 Destiny Artclass-SR 11-1-22 No star Not credited 47 Alan Ct^sland Gxfmopolitari Vicente Blasco lban««» 48 Title Releasing Company Release Date Star Director Review Date Destiny's Isle Amer Rel 4-30-22 No star Wm. P. S. Earle 7-9-22 Determination Lee-Bradf'd-SR 1-23 Deuce of Spades, The 1st Nat No star Jos. Levering 3-12-22 5-22 Charles Ray Charles Ray 5-14-22 Devil Within, The Fox 11-20-21 Dustin Farnum Bernard Burning 11-20-21 Devil's Partner, The Iroquois-SR 8-1-22 No star C. S. Fleming Devil's Pawn, The FP-L 4-16-22 Pola Negri Paul L. Stein 6-18-22 Diamond Carlisle Crk-C'nelius-SR 6-1-22 Geo. Chesebro Dictator, The FP-L Milburn Morante 8-1-22 Wallace Reid James Cruze 7-9-22 Divorce Coupons Vita 9-10-22 Corinne Griffith W. Campbell 7-2-22 Do and Dare Fox 10-1-22 Tom Mix Edw. Sedgwick 9-24-22 Doll's House, A Unt Art Domestic Relations 1st Nat 2-12-22 Nazimova Charles Bryant 2-19-22 6-22 Katherine MacDonald Chet Withey 6-11-22 Don't Blame Your ChUdren FBO 4-22 Malvina Longfellow Geo. Ridgwell Don't Doubt Your Wife . . . Asso Exhib 3-12-22 Leah Baird James W. Home 5-28-22 Don't Get Personal . . .Univ 1-16-22 Marie Prevost Clarence Badger 1-8-22 Don't Shoot . . .Univ 8-21-22 Herbert Rawlinson Jack Conway 8-20-22 Don't Tell Everything ...FP-L 12-11-21 S wanson- Dexter-Reid Sam Wood 12-18-21 Don't Write Letters . . . Metro 5-15-22 Gareth Hughes Geo. D. Baker 4-30-22 Door That Has No Key. . . . . . . Alliance-SR Evelyn Brent Frank Crane Double Stakes . . . Pacific-SR 2-22 Gladys Brockwell Not credited Doubling for Romeo . . . Gwyn 1-22 Will Rogers Clarence Badger 10-30-21 Down to the Sea in Ships . . . . . Elmer Clifton No star Elmer Clifton Dr. Jim . . . Univ 11-28-21 Frank Mayo W. Worthington 11-20-21 Driven . . . Depend. Sales No star Chas. Brabin 11-26-22 Duke of Chimney Butte ...R-C 12-4-21 (See 1921 Year Book) Dusk to Dawn . . . Asso. Ex. 8-27-22 Florence Vidor King Vidor 9-3-22 Dust Flower, The . . . Gwyn 7-22 Helene Chadwick Rowland V. Lee 7-9-22 East is West ...1st Nat 10-22 Constance Talmadge Sidney Franklin 9-3-22 Ebb Tide ...FP-L 12-4-22 No star Geo. Melford 11-26-22 ...FBO 12-25-21 Doris May Wm. A. Seiter 12-25-21 Edge of Youth, The . . . Gaumont-SR Josephine Earle No credit 10-9-21 Elope If You Must . . . Fox 4-2-22 Eileen Percy C. R. Wallace 3-19-22 Enchantment ...FP-L 11-27-21 Marion Davies Robt. G. Vignola I 11-6-21 Enter Madame . . . Metro 11-13-22 Clara K. Young Wallace Worsley 11-5-22 Eternal Flame, The ...1st Nat 8-22 Norma Talmadge Frank Lloyd 9-24-22 . . . Selzk 5-5-22 Elaine Hammerstein Geo. Archainbauc 1 6-18-22 Exit the Vamp ...FP-L 12-4-21 Ethel Clayton Frank Urson 2-5-22 Extra, Extra . . . Fox 3-5-22 Walker-Murphy Wm. K. Howard 2-19-22 Eyes of the Mummy, The... ...FP-L . 6-25-22 Pola Negri No credit Face Between Metro 4-17-22 Bert Lytell Bayard Veiller S-28-22 Face in the Fog, The ...FP-L 10-9-22 No star Alan Crosland lO-lS-22 Face to Face Asso. Ex.-P 9-17-22 No star Not credited 10-1-22 Fair Lady Unt Art 2-26-22 No star Kenneth Webb 3-26-22 Faithless Sex, The Signet- SR No star Henry J. Napier 49 Roy Barnes "SCRATCH MY BACK" (GOLDWYN) "SO LONG LETTY" (ROBERTSON-COLE) "SEE MY LAWYER" (ROBERTSON-COLE) "A KISS IN TIME" (PARAMOUNT) "HER FACE VALUE'' (PARAMOUNT) "TOO MUCH WIFE" (PARAMOUNT) "EXIT THE VAMP" (PARAMOUNT) "DONT GET PERSONAL" (UNIVERSAL) "IS MATRIMONY A FAILURE" (PARAMOUNT) "THE OLD HOMESTEAD" (PARAMOUNT) "ADAM AND EVA" (COSMOPOLITAN) Now Making "THE GO GETTER" For Cosmopolitan By Peter B. Kyne LAMBS CLUB NEW YORK 1803 ARGYLE AVE. HOLLYWOOD, CALIF. 50 Title Releasing Company Release Date Star Director Review Date , ....Pacific-SR Joe Moore Eileen Sedgwick Wm. J. Craft 3-12-22 4-30-22 i\'o star Saml. R. Bradley 6-11-22 11-21-21 Miss DuPont Paul Scardon Famous Mrs. Fair Metro 11-22 4-10-22 Mae Murray R. Z. Leonard 4-23-22 Fast Mail .... Fox 8-20-22 No star Bernard Duming 7-9-22 Fatal 30 The . . . .... Pacific-SR No star Not credited Asso Ex-P 11-13-21 Tom Wise John B. O'Brien No star Not credited Hdksn 12-11-21 No star Irvin V. Willat 1-8-22 Fighting Guide, The .... Vita 10-15-22 Duncan-Johnson Wm. Duncan & Don Clark Metro No star Jos. J. Franz 10-30-21 Fox 5-14-22 Tom Mix Arthur Rosson 4-30-22 FP-L 4-9-22 Alma Reubens Tom Terriss S-28-22 FBO-G 3-25-22 Edw. Hearn-Ruth Renick Arthur Rosson 12-26-21 Hoot Gibson Reeves Eason 12-25-21 FP-L-R 12-21 Constance Binney M. Campbell 12-25-21 FBO 4-30-22 Mildred Harris Glenn Lyons 4-23-22 FBO 1-8-22 Sessue Hayakawa Norman Dawn 1-15-22 Five Dollar Baby. The .... Metro Viola Dana Harry Beaumont 6-4-22 Lon Chaney Irv. Cummings 8-27-22 Flesh and Spirit .... Lee-B'dfd-SR 6-22 Belle Bennett Jos. Levering Vita 12-4-21 Henry B. Walthall David Smith 1-22-22 FBO 10-16-21 Doris May Wm. A. Seiter 10-9-21 Foolish Monte Carlo ....FBO-G 5-22 Mary Clare Wm. Humphry .... Univ 1-1-22 Eric Von Stroheim E. Von Stroheim 1-15-22 1st Nat 5-22 No star Marshall Neilan 8-13-22 .... Amer. Rel. 10-5-22 No star Ray Smallwood 8-20-22 FP-L 3-19-22 Dalton-Harris-Nagle Cecil B. DeMille 12-11-21 Fox 9-10-22 No star Emmet J. Flynn 7-23-22 .... Lee-Bradford-S ;R 7-22 Terry Twins Not credited 11-13-22 (See 1921 Year Book) FP-L 10-2-21 Elsie Ferguson J. S. Robertson 10-9-21 Fox 6-18-22 Tom Mix Lynn Reynolds 6-25-22 .... Pacific-SR 2-22 No star F. G. Hartman „ FP-L 3-5-22 Ferguson-Reid Geo. Fitzmaurice 10-23-21 r orcver .... Metro 10-2-22 No star W. S. Van Dyke 7-23-22 11-20-22 No star James W. Home 10-22-22 Zerner-SR No star John S. Lawrence FP-L 7-2-22 Ethel Clayton Paul Powell Forsaking AU Others . . . .Univ 12-11-22 No star Emil Chautard 9-21 Betty Compson Arthur Rosson 12-4-21 Vita 10-22-22 Earle Williams Robt. Ensminger 51 ^^^^,^9^^^|^^^^^H IP^^^^^I S^B^^^H Hi ^H ^B ^^^gfe?^'<^^^'^^-^^T^^^^^^^^^^^^^^ H^l ^^^^^^^^^^^^^^^^^^Bc -,' ^ : ^^^^^^^^^1 HOLMES HERBERT 'THE CONSPIRATORS," R. William Neill Production (Now in Production in Italy) "A WOMAN'S WOMAN," with Mary Alden "A STAGE ROMANCE," with William Farnum "DIVORCE COUPONS," with Corinne Griffith Title Releasing Company Release Date Star Director Review Date For Your Daughter's Sake... ..J W Film-SR 1-2-21 Grace Darling Burton King Fountain of Youth, The . .Graphic-SR 1-22 No star No credit Four Hearts ..W. P. Ex.-SR Dick Halton Leonard Wheeler Fourteenth Lover . . Metro 1-9-22 Viola Dana Harry Beaumont 11-27-21 Fox, The 10-31-21 Harry Carey Robt. Thornby 11-20-21 Free Air , ..Hdlc 71 !#«» Bert Lytell a« RUDOLPHa.«d CAS^ENDyiL 73 JAMES DENT General Studio Manager SELZNICK PICTURES CORPORATION Herbert L. Messmore Co., Inc. 81-85 Sixth St., Long Island City, N. Y. Originators of Papier Mache Exploitation Novelties for Motion Picture Distribution Executing Papier Mache Exploitation Novelties for Selznick's Master Production "RUPERT OF HENTZAU" Preparing Novelties on Warner Bros. Coming "SCREEN CLASSICS" Builders of Warner Bros. FAMOUS TRANS-CONTINENTAL FLOAT, New York to Los Angeles 75 TAejJ ci'eeiiK/iiT luperi of . is properly expressed ihrough ihe Graphic \^ri ofCoIorandBIacIcand Joy-^ne Powers Fourth En^ravin^ Co. 208 WEST SQ-^r STREET TELEPHONE CIRCLE I300 Z)(2yandNigM Service iRSFoCRTHENGR 76 Photo Engraving — OF THE QUALITY REQUIRED FOR ''Rupert of Hentzau'' by GRAPHIC PHOTO-ENGRAVING CO., INC. 250 WEST 54th STREET NEW YORK CITY FOR ART IN MOTION PICTURES SEE ''Rupert of Hentzau'' FOR ART IN STIDKS SEE SUPERIOR SLIDE SERVICE 34-36 West 46th St. , New York City Bryant 8875 PRIS IISG FOR ''Rupert of Hentzau'' AND OTHER HIGH CLASS PHOTOPLAYS CIRCLE PRESS 238 West 53rd St., New York City 77 RICHARD STANTON Director and Producer Completing Plans for elaborate productions to be made during 1923 78 The Gold Medal "Humoresque" won the first ^. ^^2|jg|BHHMiB2S^!«^ of Honor, awarded by Photoplay Ma- gazine annually to the best pic- gold medal in 1920 and "Tol'- able David" was judged the best picture of ture of the year. 1921. Tj^ VERY exhibitor should read "The ^-^ Shadow Stage," the critical de- partment of Photoplay Magazine. In it current pictures are judged strictly from the viewpoint of the audience. It has justly been called "The National Guide to Motion Pic- tures" and is read every month by over 2,000,000 motion picture pat- rons. It is the largest amusement audience in the world. PHOTOPLAY MAGAZINE • fames R. Quirk — Editor and Publisher - 79 HAND COLORING of MOTION PICTURES Read what the ''Film Daily" says about my hand coloring on the picture "THE LIGHT IN THE DARK" "Incidentally the introduction of this feature allows the use of about a reel of colored photography, show- ing Tennyson's famous interpretation of The Holy Grail, and this is, by odds, the finest color work ever shown in this country. It undeniably lifts the value of the production materially. If the picture contained nothing else of value — and in fact it does — the reel mentioned would easily make it attractive to lots of people. Too much praise cannot be given this. The reel is a charming addition to the picture, and makes it unusually worth while. — " "FOOLISH WIVES" and others G. R. SILVERA 590 West 178th Street New York City Wadsworth 9366 80 EDWARD SLOMAN Producer and Director Edward Sloman Productions 614 So. Oxford Boulevard Los Angeles New York Address c/o Dependable Sales Corp. 1493 Broadway 81 OSCAR LUND Producer— Director "LOVE'S OLD SWEET SONG " Coming "THE FALCON" "GLORIA'S ROMANCE" Formerly with Universal, Pathe, William Fox, Metro and other large producing companies His famous box-office successes include "The Dollar Mark," "The Marked Woman," "When Broadway Was a Trail," "M'Liss," "Just Jim," "Dorian's Di- vorce," "Peg of the Pirates" and many other extraor- dinary pictures. 82 •r. 1 • -r. 1 Review Releasing Release _. ^ riatp Tide Company Date Star Director Uate No Defense Vita 12-18-21 Duncan- Johnson Wm. Duncan 1-29-22 No Trespassing Hdksn 6- 1 1 -22 Irene Castle E. F. Hollywood 4-23-22 North of the Rio Grande FP-L 5-14-22 Holt-Daniels R. S. Sturgeon 5-21-22 Notoriety Web&North-SR No star Wm. Nigh 10-^-22 Oathbound Fox 8-13-22 Dustin Farnum Bernard Durning 7-30-22 Offenders, The Russell Clark-SR Margery Wilson Not credited Oh, Mabel Behave Aywon-SR 1-22 No star Not credited Old Homestead, The FP-L 10-9-22 No star James Cruze 10-^-^^ Old Oaken Bucket, The FBO-G 10-21 No star May Tully ^0-23-21 Oliver Twrist 1st Nat 11-11-22 Jackie Coogan Frank Lloyd 11^5^2 Omar the Tentmaker 1st Nat Guy Bates Post James Young 12-3-22 Once Upon a Time H Bollman-SR Ruth Bryan Owen Ruth Bryan Owen 1-1-22 One Clear Call 1st Nat 6-22 Henry Walthall John M. Stahl 6-25-22 One-Eighth Apache Arrow-SR 6-22 Roy Stewart Ben Wilson One Exciting Night UntArt No star D. W. Griffith 10-29-22 One Glorious Day FP-L 2-5-22 No star James Cruze 2-5-22 One Moment's Temptation 2nd Nat 9-1-22 Marjorie Villis A. H. Rooke One Night in Paris Asso. Ex-P 10-8-22 No star Not credited One Week of Love Selzk 11-22 Hammerstein-Tearle G. Archainbaud 11-12-22 One Wonderful Night Univ 12-18-22 Herbert Rawliiison Stuart Paton On the High Seas FP-L 11-6-22 No star Irvin Willat 10-8-22 Ordeal, The FP-L S-21-22 Agnes Ayres Paul Powell 6^4^2 Orderly, The Pathe 10-21-21 No star No credit Orphan Sally Lee-B'dford-SR 9-22 No star Edw. Hemmer Orphans of the Storm Untd Art 4-30-22 L. & D. Gish P. W. Griffith 1-8-22 Other Side, The Amer. Rel. 11-22 No star Not credited Other Women's Clothes Hdksn 5-10-22 Mabel Ballin Hugo Ballin 3-19-22 Our Leading Citizen FP-L 6-18-22 Thomas Meighan Alfred Green 6-18-22 Our Mutual Friend FBO-G 12-26-22 No star No credit ^2-4-21 Outcast, The FP-L 12-11-22 Elsie Ferguson Chet Withey Out of the Silent North Univ 6-19-22 Frank Mayo W. Worthington 6-11-22 Over the Border FP-L 6-4-22 Betty Compson Penrhyn Stanlaws 6-11-22 Tom Moore Paid Back Univ 8-28-22 All Star IrY. Cummings 8-27-22 Pals of the West Clk- Cornelius- SR 10-22 No star Not credited Pardon My French Gwyn 11-21 Vivian Martin Sidney Olcott 1-1-^2 Pardon My Nerve Fox 3-5-22 Charles Jones Reeves Eason 2-26-22 Parisian Scandal, A Univ 12-5-21 Marie Prevost George Cox 11-27-21 Parted Curtains Warner-SR 10-5-21 Henry Walthall No credit Partners of the Sunset Bert Lubin-SR Robt. H. Townley Pasteboard Crown, A Asso Ex-P 4-16-22 No star Travers Vale Pawn Ticket 210 Fox 12-24-22 Shirley Mason Bernard Durning Pawned Selzk 11-13-22 No star Irvin V. Willat Pay Day 1st Nat 3 22 Charles Chaplin Charles Chaplin 4-9-22 83 Title Keleasinff Company Release Date Star Director Review Date . ..Arrow-SR Laurette Taylor Lewis King 10-29-22 P'a'-or-k Alley . . . Metro 1-23-22 Mae Murray R. E. Leonard 11-13-21 ■^-'T O' Mv Heart . ..Metro 12-18-22 Wm. Fairbanks King Vidor . . 1st Nat 2-22 Wesley Barry Marsliall Neilan Frank O'Connor & 2-26-22 . ..Fox in-.^0-21 (See 1921 Year Book) , ..1st Nat Charles Chanlin Cbas. Chaplin 11-19 27 4-2.V22 No star Louis Cbaudet Pi"V '^oHf Pa'cmar, The ..FPL 11-27-22 No star Alex. Kardo Q-on '»'' Prinrp and the Pauper. The. . . .Atner. Rel lO-lS-22 No star Frank Borzage 11 9fi TJ Prinre There Was, A , ..FP L l-lS-22 Thomas Meitrban Tom Forman 11-20-21 Primitive Lover, The , ...1st Nat S-22 Constance Talmadge Sidney Franklin 5-21-22 Prisoner of Zenda . . . Metro All star Rex Ingram 4-30-22 Prodigal Judge, The ...Vita 2-9-22 No star Edward .lose 2-5-22 Proofs of Innocence . . . Amer. Rel. 8-21-22 Louise Du Pre Roy Mitchell Prophet's Paradise. The . . . Selzk 2-28-22 Eugene O'Brien Alan Cros'and Putting It Over . . .Goldstone-SR Richard Talmadc^e Grover Tones Oueen of the Moulin Rouge. . . . . Amer Rel lO-S-22 No star R. C. .Smallwood 8-20-2? Oueen O' the Turf ...FBO 4-16-22 No star John K. Wells 5-14-21 Queen of Sheba, The . . .Fox 12-11-21 (See 1921 Year Book) Queenie . . . Fox 10-9-21 Shirley Mason H. M. Mitchell 10-2-21 Question of Honor, A , . .1st Nat 2-22 Anita Stewart Edwin Carewe 3-12-22 Quincy Adams Sawyer . . .Metro 12-4-22 No star Clarence Badger 12-3-2? Ragged Heiress, The ..Fox 3-19-22 Shirley Mason Harry Beaumont 3-12-22 Rags to Riches ..Warner-SR 9-15-22 Wesley Barry Wallace Worsley 10-1-22 Raiders, The . . Canyon-SR Franklyn Farnum Nate Watt Painbow, The ..Vita 11-20-21 Alice Calhoun Edward Jose Pang° Patrol, The ..RussellSR No star Harry Moody 9-10-22 Rangeland . . Steiner-SR 2-22 Neal Hart Neal Hart Real Adventure The . . Asso Exhib 5-28-22 Florence Vidor King Vidor 7-2 22 Received Payment ..Vita 1-28-22 Corinne Griffith Chas. Maigne 1-15-22 Reckless Chances . . Asso Ex-P 1-15-22 .T. P. McGowan J. P. McGowan 1-22-22 84 Title Releasing Company Release Date Star Director Review Date Reckless Youth Selzk 3-30-22 Elaine Hammerstein Ralpli Ince 4-16-22 10-10-21 Hoot Gibson Reeves Eason 10-2-21 . ... 1st Nat 2-22 No star Victor Fleming 11-13-21 Red Peacock The FPL 2-26-22 Pola Negri Paul Stein 4-9-22 Referee The Selzk 5-10-22 Conway Tearle Ralph Ince FPL 1-1-22 Wallace Reid Howard Higgen 1-1-22 Remembrance . . ..Gwyn 10-8-22 No star Rupert Hughes 9-17-22 Selzk 4-5-22 Owen Moore Henry Lehrman 4-16-22 Vita 5-28-22 Earle Williams Robt. Ensminger Rialto-SR Camillo Innocent 6-18-22 9-22 No star Louis Gasnier 8-27-22 Riding With Death . . . . 11-13-21 Charles Jones Jacques Jaccard 11-13-21 Ridin' Wild W P Ex-SR Robt. Thornby 4-23-22 Ridin* Wild . . . .Univ 11-20-22 Hoot Gibson Nat Ross 11-19-22 2-20-22 Bert Lytell Bayard Veiller 12-11-21 Right Way The Prod Sec-SR 10-1-22 No star Sidney Olcott 11-13-21 12-21 No star Not credited Rip Van Winkle Hdksn 9-21-21 Thomas Jefferson Warde Lascelle 10-16-21 Road to Arcady, The ....J W-SR 12-21 Virginia Lee Burton King Robin Hood Unt Art 10-30-22 Douglas Fairbanks Allan Dwan 11-5-22 12-25-21 Wm. Russell Jack Dillon 12-25-21 .... 1st Nat 1-22 No star Jerome Storm 3-26-22 7-22 Anita Stewart Fred Niblo R. S. V. P 1st Nat 12-21 Charles Ray Charles Ray 12-18-21 Rough Diamond, The .... Fox 10-30-21 Tom Mix Edw. Sedgwick 10-30-21 Fox 6-4-22 Charles Jones Reeves Eason 6-4-22 Big Boy Williams C. R. Seeling Ruling Passion, The Untd Art 2-19-22 George Arliss Harmon Weight 1-29-22 Ruse of the Rattler, The . . . . Asso Ex-P 12-4-21 J. P. McGowan J. P. McGowan Sailor-Made Man, A . . . .Asso Exhib 12-25-21 Harold Lloyd Fred Newmeyer 11-27-21 Saturday Night ....FPL 2-5-22 No star Cecil B. DeMille 1-29-22 Saved by Radio ....Russell-SR No star Wm. Craft 9-3-22 School Days .... VVarner-SR 12-25-22 Wesley Barry Wm. Nigh 12-4-21 Scrapper, The . . . .Univ 2-6-22 Herbert Rawlinson Hobart Henley 1-22-22 Sea Lion. The 1st Nat 12-21 Hobart Bosworth Rowland V. Lee 1-8-22 Second Hand Rose .... Univ 5-22-22 Gladys Walton Lloyd Ingraham 5-7-22 Secret of the Hills ....Vita 9-S-21 Antonio Moreno Chester Bennett Secrets of Paris Master-SR No star Kenneth Webb 10-29-22 Seeing's Believing .... Metro 5-1-22 Viola Dana Harry Beaumont Self-Made Man, A .... Fo.x 6-25-22 Wm. Russell Rowland V. Lee 7-2-22 Serving Two Masters Lee-B'ford-SR 1-22 Josephine Earle Not credited Seventh Day, The .... 1st Nat 2-22 Richard Barthelniess Henry King 3-19-22 Shackles of Gold .... Fox 5-7-22 Wm. Farnum Herbert Brenon 5-14-22 Shadows . . . .Lichtman 11-22 No star Tom Forman 11-5-22 85 Title Releasing Company Relf ase Date Star Director Review Date . . . Russell- SR Russell Simpson J. P. McCarthy 10-16-21 Shadows of the Sea . . . Selzk 1-10-22 Conway Tearle Alan Crosland 1-1-22 Shadows of the West . . .Nat Exch-SR No star Paul Hurst 10-16-21 (See 1921 Year Book) . . . F W Kurtz No star Lepu Pick 11-20-21 Shattered Dreams . . . Univ 1-2-22 Miss duPont Paul Scardon 12-11-21 . . . Am Kel 2-22 No star Edward Sloman 3-5-22 Sheik The . . . FF-L 11-20-21 Ayres- Valentino Geo. Melford 11-13-21 Sheik's Wife, The . . . Vita 3-9-22 No star Henry Roussell 3-12-22 Sherlock Brown . . . Metro 6-26-22 Bert Lytell Bayard Veiller 6-4-22 Sherlock Holmes . . . Gwyn John Barrymore Albert Parker 5-14-22 Shirley of the Circus . . .Fox 11-12-21 Shirley Mason R. V. Lee 11-12-21 Should a Wife Work ...J W-SR 12-21 Edith Stockton H. G. Plimpton 2-5-22 Shylock of Wall St . . .Burton King No star Burton King Sign of the Rose, The ... Am Rel George Beban Harry Garson 3-12-22 4-30-22 No star F. P. Donovan 12-11-21 Silent Call, The ... 1st Nat 11-21 No star L'rence Trimble 11-20-21 Silent Shelby . . . Aywon-SR Frank Borzage Frank Borzage Silent Vow, The ...Vita 4-16-22 Duncan-Johnson Wm. Duncan 4-9-22 . . .FBO 12-11-21 No star Louis J. Gasnier 11-27-21 Silver Wings ... 1- ox 8-27-22 Mary Carr Jack Ford & Edwin Carewe 5-21-21 Sin of Martha Queed, The. . . . . . Asso Exhib 11-6-21 No star Allan Dwan Singed Wings ...FPL 12-18-22 No star Penrhyn Stanlaws 12-3-22 Single Track ...Vita 11-13-22 Corinne Griffith Webster Campbell 12-4-21 Sir Arne's Treasure . . . Hamilton-SR No star Mauritz Stiller 12-11-21 Siren Call The . ..FPL 9-18-22 Dorothy Dalton Irvin Willat 917-22 . . . Am Rel 4-2-22 No star Albert Capellani 4-9-22 Skin Deep ... Its Nat 9-2S-22 No star Lambert Hillyer 10-8-22 Sky High . . . Fox 1-22-22 Tom Mix L. F. Reynolds 12-18-21 Sleep Walker, The ...FPL 4-9-22 Constance Binney E. J. LeSaint 4-16-22 .. .Hdksn 10-25-22 Irene Castle Alan Crosland 6-25-22 Slippey Magee ... 1st Nat 9-22 Coleen Moore Wheeler Oakman Wesley Ruggles Franklyn Farnum Jos. Franz Smilin' Through ... 1st Nat 3-22 Norma Talmadge S. A. Franklin 3-5-22 Smiles Are Trumps . . . Fox 2-5-22 Maurice Flynn Geo. E. Marshall 2-5-22 ... 1st Nat 6-22 Charles Ray Charles Ray & Al Ray Snitching Hour, The . . .pik-Cornelius 8-11-22 Arthur Housman Alan Crosland Snowshoe Trail ...FBO 9-17-22 Jane Novak Chester Bennett 9-17-22 Son of Wallingford, The. . . . . . , Vita 10-30-21 No star G. R. Chester 10-16-21 Song of Life, The ... 1st Nat 1-22 No star John M. Stahl 2-19-22 Sonny ... 1st Nat 5-22 Richard Barthelmess Henry King 6-4-22 Son of the Wolf .. .FBO 6-11-22 No star Norman Dawn 6-18-22 So This Is Arizona .. .W Smith-SR Franklyn Farnum Francis Ford 4-23-22 86 Title Releasing Company Release Date Star Director Review Date Soul and Body .Peacock-SR No star Frank Beal Soul of a Woman, The .Asso Photo-SR Jane Novak Not credited Soul of Man .Prod Sec-SR 11-1-21 Maurine Powers Not credited South of Northern Lights.... .Steiner-SR 11-22 Neal Hart Neal Hart .FPL 7-16-22 Mary Miles M inter Frank Urson 6-25-22 Spanish Jade, The .FPL 4-30-22 No star J. S. Robertson 7-16-22 Speed Girl, The .FPL-R 10-21 Bebe Daniels M'rice Campbell 11-20-21 Splendid Lie The .Arrow-SR 2-22 Grace Davidson Charles Horan Squire Phin • Prod Sec-SR 10-6-21 Macklyn Arbuckle Lee Wharton & R. H. Townley . Fox 3-5-22 Wm. Farnum Herbert Brenon 2-12-22 Star Reporter .Arrow-SR Billy Rhodes Duke Worne Stardust ; .1st Nat 11-21 Hope Hampton Hobart Henley 2-12-22 Stay Home . Metro 3-20-22 Gareth Hughes Geo. D. Baker Step On It . Univ 5-29-22 Hoot Gibson Jack Conway 5-14-22 Storm, The . Univ House Peters Reginald Barker 6-25-22 Storm Girl The . Anchor-SR Peggy O'Day Francis Ford Stranger Than Fiction . 1st Nat 6-21 Katherine Mac Donald J. A. Barry 12-11-21 Strange Idols . Fox 5-21-22 Dustin Farnum Bernard Durning 6-4 22 Strength of the Pines . Fox 2-5-22 William Russell Edgar Lewis 3-5-22 Stroke of Midnight, The . Metro No star Victor Seastrom 6-4 22 Stronger Passion, The • Lee-B'dford-SR 10-22 Marie Doro Herbert Brenon Super Sex, The .Amer. Rel. 11-22 No star Lambert Hillyer 12-3 22 .Lee-B'dford-SR 9-22 No star Allan Dwan Sure Fire . Univ 11-7-21 Hoot Gibson Jack Ford 10-30 21 Sure-Fire Flint .Mastodon Johnnie Hines Del Henderson 10-29 22 Suspicious Wives .SR Molly King John M. Stahl Swamp, The .FBO 10-30-21 Sessue Hayakawa Colin Campbell 10-30-21 Table Top Ranch .Steiner-SR 9-22 Neal Hart Paul Hurst 11-12-22 Tailor-Made Man .Unt Art 10-15-22 Chas. Ray Jos. De Grasse 10-22-22 Taking Chances . Goldstone-SR Richard Talmadge Grover Jones Tangled Trail . W Steiner-SR 12-21 Neal Hart Chas. E. Bartlett Ten Nights in a Bar Room... .Arrow-SR No star Oscar Apfel 1-8-22 Tess of the Storm Country. . . .Unt Art 11-13-22 Mary Pickford J. S. Robertson 11-19-22 Thelma .FBO 11-26-22 Jane Novak Chester Bennett 11-26 22 Theodora . Gwyn 1-22 No star Arturo Ambrosio 10 23-21 They Like 'Em Rough . Metro 6-12-22 Viola Dana Harry Beaumont 5-28-22 They're Off . Aywon-SR Corliss Palmer Not credited 1 hirly Days .FPL 1-8-23 Wallace Reid James Cruze Thistle and the Rose, The... . Brewster-SR No star Francis Ford 5-21-22 Thorobred ..Clk-Cornel's-SR Helen Gibson Geo. Halligan Thorns and Orange Blossoms ..Lichtman 11-22 No star Louis Gasnier 11-26-22 Thou Shalt Not Love • Graphic-SR 2-22 Vivian Le Picard Not credited Three Buckaroos, The • .Amer Rel 4-16-22 No star Fred Balshofer 7-23-22 87 Title Releasing Company Release Date Star Director' Review Date 1 hree Live Ghosts - FPL 1-29-21 No star Geo. Fitzmaurice » 1-8-22 Ihree Must-Get-Theres ... . . . .U Art-Al Prod 10-27-22 Max Linder Max Linder 9-10-22 Three Word Brand . ...FPL 10-16-21 Wm. S. Hart Lambert Hillyer 16-2-21 Through a Glass Window... , ...FP-L 4-2-22 May McAvoy Maurice Campbell Through the Storm Asso. Ex-P 8-13-22 No star H. G. Plimpton 8-27-22 Through Three Reigns . . ..Hepworth No star C. M. Hepworth Thunderclap Fox 10-2-21 (See 1921 Year Book) Thundering Hoofs . . ..Aywon-SR 9-22 Peggy O'Day Francis Ford 10-15-22 Tillie ... FP-L-R 2-22 Mary Miles Minter Frank Urson 2-12-22 Till We Meet Again . . .Asso. Ex 10-15-22 Mae Marsh W. C. Cabanne 10-29-22 Timothy's Quest ... Amer. Rel. 9-17-22 No star Sidney Olcott 9-24-22 To Have and To Hold ...FPL 10-30-22 No star G. Fitzmaurice 11-12-22 Tol'able David . . .1st Nat 11-21 Richard Barthelmess Henry King 11-20-21 Toll of the Sea . ..Metro 1-23-22 No star Chester Franklin 12-3-22 Tom Mix in Arabia . . .Fox ll-S-22 Tom Mix Lynn Reynolds 11-5-22 Too Much Business ...Vita 4-9-22 No star Jesse Robbins 4-9-22 • • .Asso Photo-SP I Mary Anderson Not credited 2-12-22 Too Much Wife . ..FP-L-R 1-8-22 Wanda Hawley Thos. N. Heffron Top of New York, The ...FP-L-R 8-21-21 May McAvoy Wm. D. Taylor 6-25-22 Top O' the Morning . . .Univ 9-4-22 Gladys Walton Edvv. Laemmle 9-3-22 Town That Forgot God . . .Fox No star Harry Millarde . . .Univ 3-6-21 Frank Mayo Wm. Worthington I 2-19-22 Tracks . . . Asso Ex-P 5-7-22 No star Jos. J. Franz 6-11-22 Trailin' . . . Fox 12-11-21 Tom Mix L. F. Reynolds 12-4-21 Trail of the Axe ...Amer. Rel. 8-21-22 Dustin Farnum Ernest C. Warde 10-1-22 Trail of Hate, The . . DiLorenzo-SR Big Boy Williams W. H. Curran 5-21-22 Trail of the Law ...Prod Sec-SR 12-12-21 Wilfred Lytell Oscar Apfel Trail's End, The . ..W.M.Smith-SR 9-1-22 No star Geo. Holt Trap, The . . . Univ 5-22-22 Lon Chaney Robt. Thoniby 5-7-22 Travelin' On . . .FPL 3-5-22 Wm. S. Hart Lambert Hillyer 3-19-22 Trifling Women . . .Metro 11-6-22 No star Rex Ingram 10-8-22 Trimmed . . . Univ 7-3-22 Hoot Gibson Harry Pollard 7-2-22 Trooper O'Neil . . . Fox 7-16-22 Charles Jones C. R. Wallace & Scott Dunlap 7-16-22 '1 ropical Love ...Asso Ex-P 10-23-21 Ruth Clifford Ralph Ince Trouble 8-22 Jackie Coogan Albert Austin 5-28-22 Trouper, The . . .Univ 7-17-22 Gladys Walton H. B. Harris 7-23-22 Truthful Liar, The ". ...FP-L 4-23-22 Wanda Hawley Thomas Heffron 4-23-22 Turn to the Right 2-21-22 All star Rex Ingram 1-29-22 Iwo-Fisted Jefferson . ..Arrow-SR Jack Ho-xie Roy Clements Two Minutes to Go . . . 1st Nat 10-17-21 Charles Ray Charles Ray 10-30-21 Two Kinds of Women . . .FBO 1-22-22 Pauline Frederick Colin Campbell 2-5-22 Unconquered, The . . .Aywon-SR Maciste -Not credited 11-5-22 Under Oath . . . Selzk 8-5-22 Elaine Hamnierstein G. Archainbaud Title Releasing Company Release Date Under Two Flags Univ-Jewel 11 6 22 Priscilla Dean Up and At 'Em FBO 8-6-22 Doris May Unconquered Woman Lee Bradford S-22 Ruby DeRemer Under the Lash FPL 1218-21 Gloria Swanson Understudy. The FBO 6-25-22 Doris May Unfoldment. The Asso Exhib 1-22 No star Unknown, The Goldstone-SR Richard Talmadge Up and Going Fox 4-2-22 Tom Mix Up in the Air About Mary Asso. Exhib 6-25-22 Louise Lorrame Village Blacksmith, The Fox No star Voices of the City Gwyn Lon Chaney Veiled Woman, The Hdksn 9-3-22 No star Vendetta Howell-SR Pola Negri Vermillion Pencil, The FBO 3-19-22 Sessue Hayakawa Very Truly Yours Fox 4-30-22 Shirley Mason Virginia Courtship. A FP-L-R 12-21 May McAvoy Virgin's Sacrifice, A Vita Wall Flower, The Gwyn 5-21-22 Corinne Griffith 5-22 No star Watch Him Step Goldstone-SR Richard Talmadge Watch Your Step G 2-22 No star Watching Eyes Arrow 11-12-21 No star Way of a Maid. The Selzk 11-20-21 Elaine Hanimerstein Way of a Man, The Lee-Bdford-SR 5-22 Josephine Earle Welcome Children Nat Exch-SR No star Welcome to Our City Prod-Sec-SR 2-1-22 Macklyn Arbuckle West of the Pecos Steiner-SR 8-22 Neal Hart Pete Morrison West vs. East Sandford-SR Western Demon. A Western F-SR No star Western Firebrands Aywon-SR Big Boy Williams Western Speed Fox 4-23-22 Charles Jones Whatever She Wants Fox 12-11-21 Eileen Percy What Do Men Want FBO-G 11-13-21 Claire Windsor Sam Wood 10 23-21 Wm. A. Seiter 7-2-22 Lynn Reynolds 3-26-22 Wm. Watson Jack Ford 11-12-22 Wallace Worsley 8-20-22 Lloyd Ingraham 6-11-22 Geo. Jacoby 12-25-21 Norman Dawn 3-19-22 Harry Beaumont 5-28-22 Frank O'Connor 1-29-22 Webster Campbell Rupert Hughes 7'2-22 Jack Nelson 5-7-22 Wm. Beaudine 5-21-22 Not credited Wm. P. S. Earle 11-13-21 Not credited H. C. Mathews 10-9-21 Robt. Townley Neal Hart Not credited R. E. McKenzie Chas. R. Seeling 11-13-21 Wm. Wallace & Scott Dunlap 5-7-22 C. R. Wallace 12-11-21 Lois Weber 11-20-21 What No Man Knows Equity-SR What Fools Men Are Amer. Rel. 1-15-22 Clara Kimball Young Harry Garson 12-25-21 12-3-22 No star G. Terwilliger What's Wrong With Women. .. Equity-SR 9-15-22 No star R. Wm. Neill 8-13-22 When Danger Smiles. Vita 10-3-22 Wm. Duncan Wm. Duncan When Husbands Deceive Asso. Ex. 8-20-22 Leah Baird Wallace Worsley 8-27-22 When Knighthood Was in Flower FPL Marion Davies Robt. Vignola 9-17-22 When Knights Were Bold Hamilton-SR Mary Anderson When Love Is Young Arista-SR 2-22 Zena Keefe John Brunius Not credited When Romance Rides Gwyn 4-22 No star Eliot Howe Jean Hersholt C. O. Rush 4-16-22 When the Desert Calls Amer. Rel. 11-16-22 Violet Heming Roy Smallwood 11-19-22 89 Title Releasing Company Release Date Star Director Review Date When the Devil Drives . Asso Exhit 6-4-22 Leah Baird Paul Scardon Where is My Wandering Boy. Tonight' . Equity-SR 2-15-22 Cullen Landis J. P. Hogan & Mildred Webb 2-5-22 While Justice Waits . Fox 11-27-22 Dustin Farnum Bernard Durning 11-26-22 While Satan Sleeps . FPL 9-18-22 Jack Holt Jos. Henabery 7-2-22 Whispering Shadows . Peacock-SR No star Emil Chautard Whispering Women . Clk Cornelius- SR 4-1-22 Clara Heller & Everett Moran James Keane White Hands .FBO-G 1-9-22 Hobart Bosworth Lambert Hillyer White Hell .Bartlett-SR No star Bernard Feikel White Masks, The . W M Smith-SR No star Geo. Holt White Oak, The . FPL 10-16-21 Wm. S. Hart Lambert Hillyer 11-6-21 White Shoulders .1st Nat 10--22 Katherine MacDonald Tom Forman 11-26-22 Who Are My Parents? (Reviewed as A Little Child .Fox 11-26-22 Shall Lead Them) No star J. S. Dawley 9-10-22 Why Announce Your Marriage? . Selzk 1-20-22 Elaine Hamnierstein Alan Crosland 1-22-22 Why Do Men Marry .Unity-SR Edy Carclea Genina 9-17-22 Why Men Forget . FBO 2-5-22 No star Denison Clift 1-29-21 Wide Open Town, A . Selzk 2-10-22 Conway Tearle Ralph Ince 2-26 22 Wife Against Wife . 1st Nat No star Whitman Bennett Wife Trap, The . FPL 5-7-21 Mia May Robert Wullner Wild Honey . LTniv 3-6-22 Priscilla Dean Wesley Ruggles 3-5-22 Wildcat Jordan ■ Goldstone-SR Richard Talmadge Al Santell 10-29-22 Wildness of Youth . Graphic-SR 9-22 No star Ivan Abramson 8-27-22 Winning With Wits . Fox 1-8-22 Barbara Bedford H. M. Mitchell 1-15-22 Wise Kid, The . Univ 3-3-22 Gladys Walton Tod Browning 2-26-22 Without Compromise . Fox 10-23-22 Wm. Farnum Emmett J. Flynn 11-12-22 Without Fear . Fox 4-16-22 Pearl White Kenneth Webb 4-23-22 Wolf Law . Univ 10-23-22 Frank Mayo Stuart Paton 10-22-22 Wolf Pack. The .S R Joe Moore W. J. Craft Wolf's Fangs, The . Prod Sec-SR 5-15-22 Wilfred Lytell Oscar Apfel Woman Breed, The .FBO 6-22 Pauline Frederick Not credited Woman Conquers, The . 1st Nat 12-22 Katherine MacDonald Tom Forman Woman He Loved • Amer. Rel. 10-22 No star Edvv. Sloman 9-10-22 Woman He Married, The . 1st Nat 5-22 ."^nita Stev.'art Fred Niblo 4-16 22 Woman of No Importance. . . . . Selzk 6-20-22 No star Denison Clift 6-11-22 Woman Who Believed . Artclass-SR 11-1-22 Walter Miller and Dorothy Bernard John Harvey Woman Who Came Back .Asso. Ex. 7-16-22 No star Denison Clift 8-13 22 Woman Who Fooled Herself. . .Asso. Ex. 10 29-22 May Allison Chas. Logue 11-12-22 Woman Who Walked Alone... .FP L 6-11-22 Dorothy Dalton Geo. Melford 611-22 Woman. Wake Up . Asso Exhib 3-5-22 Florence Vidor Marcus Harrison Woman's Place . 1st Nat 10-3-21 Constance Talmadge \"ictor Fleming 10 23-21 Woman's Side, The . 1st Nat 2-22 Katherine MacDonald J. A. Barry 4-9-22 Woman's Woman . R Cark-SK No star Not credited 90 Title Releasing Company Release Date Star Director Review Date Woman's Woman, A . . . . Un Art- AI Prod 9-24-22 Mary Alden Chas. Giblyn 10-8-22 Women Men Marry . . . .Genius-SR No star Edw. Dillon 10-29-22 Wonderful Thing, The 1st Nat 11-7-21 Norma Talmadge Herbert Brenon 11-13-21 Wonderful Wife. A . . . . Univ 4-24-22 Miss DuPont Paul Scardon 4-23-22 No star J. E. Williamson 10-29-22 Worldly Madonna, The. . . . Equity-SR 4-1S-22 Clara Kimball Young Harry Garson 7-16-22 World's Champion, The ....FPL 3-12-22 Wallace Reid Phillip E. Rosen 3 5-22 Yankee Doodle, Jr . . . . Burnside-SR No star Jack Pratt 3-19-22 Yellow Men and Gold .... Gwyn S-22 Chadwick-Dix Irvin Willat 6-11-22 Yellow Stain, The .... Fox 5-21-22 John Gilbert Jack Dillon 5-14-22 Yosemite Trail, The . . . .Fox 9-24-22 Dustin Farnum Bernard Durning 9-17-22 You Never Know V'ita 12-10-22 Earle Williams Robt. Ensminger Young Diana, The .. ..FPL 8-7-22 Marion Davies Albert Capellani Robert Vignola & 7-30-22 Young Rajah, The .. ..FP-L 11-13-22 Rodolph Valentino Philip Rosen 11-12-22 Your Best Friend .... Warner-SR 4-21-22 V'era Gordon Wm. Nigh 3-26-22 Youth Must Have Love.... Fox 10-1-22 Shirley Mason Jos. Franz 9-10-22 Youth to Youth . . ..Metro 10-15-22 Billie Dove Emile Chautard 10 29-22 Productions of the Year ALLIED PRODUCERS & DISTRIBUTORS CORP. Re'ease Title Date Garrison's Finish Three Must-Get-there's, The. Glorious Adventure, The. Woman's Woman, A. AMERICAN RELEASING CORP. At the Crossroads Belle of Alaska 3 Bluebeard, Jr. 3- Cardigan 2 Challenge, The 8 Cradle Buster, The 3 Danger Point, The 11- Daring Danger 3 Destiny's Isle 4 False Fronts 4 Fools of Fortune 10 Great Alone, The 5 Hidden Woman 4 His Wife's Husband 5 House of Solomon Jan of the Big Snows 3 Lying Truth 3 Man's Law and God's 4 Marriage Chance, The 11 Me and My Gal 5 Mohican's Daughter, The 5 My Old Kentucky Home 4 Other Side, The Pillagers, The 4 Prince and the Pauper, The 10 Proofs of Innocence 8 Queen of the Moulin Rouge 6 Shattered Idols. Sign of the Rose, The Sisters 4 Super Sex, The Three Buckaroos 4 Timothy's Quest 9 Trail of the Axe, The What Fools Men Are 10 When the Desert Calls 11 Woman He Loved, The 5-22 26-22 19-22 28-22 19-22 3-22 5-22 30-22 30-22 5-22 21-22 2-22 14-22 12-22 26-22 16-22 5-22 28-22 7-22 9-22 23-22 15-22 21-22 4-22 2-22 -16-22 -17-22 -21-22 29-22 -16-22 ASSOCIATED EXHIBITORS (P — Playgoers) Re'ease Title Date Anne of Little Smoky— P 11-20-21 Bill of Divorcement, A 12-22 Bootlegger's Daughter, The — P Breaking Home Ties 11-12-22 Don't Doubt Vour Wife 3-12-22 Dusk to Dawn 8-27-22 Face to Face— P 9-17-22 Father Tom— P ...11-13-21 Grandma's Boy 9- 3-22 Handle With Care 1-22-22 Her Majesty— P 7-23-22 Hills of Missing Men— P 2-26-22 Isle of Doubt, The— P 9-10-22 Lady Godiva 3-19-22 Lonesome Corners 4-23-22 Man and the Moment, The — P 11- S-22 Man She Brought Back, The— P 9-24-22 Marry the Poor Girl 12-21 One Night in Paris— P 10- 8-22 Reckless Chances — P 1-15-22 Pasteboard Crown, A— P 4-16-22 Real Adventure, The 5-28-22 Ruse of the Rattler— P 12-4-21 Sailor-Made Man, A 12-25-21 Silas Marner 4-30-22 Sin of Martha Queed, The 11-6-21 Through the Storm— P 8-13-22 Till We Meet Again 10-15-22 Tracks— P 5- 7-22 Tropical Love— P 10-23-21 Cnfoldment, The 1- 1-22 Co in the Air About Mary 6-25-22 When the Devil Drives 6- 4-22 When Husbands Deceive 8-20-22 Woman Wake Up 3- 5-22 Woman Who Fooled Herself, The 10-29-22 Woman Who Came Back, The 7-16-22 ASSOCIATED FIRST NATIONAL PICTURES Alf's Button 11-21 .Alias Tulius Caesar 7-22 All foi- a Woman 11-21 Barnstormer, The 1-22 91 5Bngptration Pictures;, 3nc. Cljarles p. DudI, JJrcistUtnt prejgent)S ^Lillian (§is\) i^tcjarb 15artj)elme00 and Borotf)^ (§t0!) 3n ^prtial jfeature ^rotmcttons 3Buring 1923 picture^ unticr tl^t Direction of J^enr^ ling anD 31o^n ^, IBobettjson 92 Release Title Date Beautiful Liar, The 12-21 Blind Hearts 10-21 Bondboy, The 10 Brawn of the North 11 Cave Girl, The 12 Cross Roads of New York 5 Dangerous Age, The Deuce of Spades, The 5 Domestic Relations 6 East is West 10 Eternal Flame, The 8 Fools First 5 Gas, Oil and Water 3 Girl in the Taxi, The 4 Hail the Woman 11 Half Breed, The 6 Her Mad Bargain 12 Her Social Value 10 Heroes and Husbands 8 Hurricane's Gal 7 Idle Class, The 10 Infidel, The 4 Invisible Fear, The 10 Kindred of the Dust 10 Light in the Dark, The 9 Lorna Doone 10 Lotus Eater, The '. n Love Never Dies 11 Love's Redemption 12 Masquerader, The . 8 Minnie 12 Molly O 10 My Lady Friends '. 10 My Boy 1 Oliver Twist 11 Omar the Tentmaker lo One Clear Call [[ 6 Pay Day 3 Penrod 2 Pilgrim, The 19 Polly of the Follies ! " ' Primitive Lover, The Question of Honor, A Red Hot Romance Rosary, The Rose O' the Sea R. s. V. p ■.;;■.'.; Sea Lion, The " Seventh Day, The Silent Call, The '..'.... 11 Skin Deep 9 Slippey McGee ] g Smilin' Through 9 Smudge 6 Song of Life, The . . . . 1 Sonny •. 5 Stardust 1 ] Stranger Than Fiction 6 White Shoulders 10 Wife Against Wife 10 Woman Conquers, The 12 Women He Married, The 5 Woman's Place 10 Woman's Side, The 2 Wonderful Thing, The 11 FAMOUS PLAYERS-LASKY CORP. Above All Law (Mysferif-s of Inda) Across the Continent After the Show Anna Ascends Bachelor Daddy, The Back Home and Broke Back Pay Beauty Shop, The . . . Beauty's Worth Beyond the Rocks . . . Blood and Sand Bonded Woman, The Bonnie Briar Bush, The Bobbed Hair (Realart) Bought and Paid For Boomerang Bill .... Borderland Bride's Play, The . . Burning Sands Call of the North, The Case of Becky, The (Realart) Clarence 14 26 7 11 21 20 12 16 12 30 22 16 27 10 11-20 Release Title Date Cowboy and the Lady, The 10-23-22 Cradle, The 4- 9-22 Crimson Challenge, The 4-23-22 Daughter of Luxury 12-25-22 Dawn of the East (Realart) 10-21 Devil's Pawn, The 4-16-22 Dictator, The 8- 1-22 Don't Tell Everything 12-11-21 Ebb Tide 12- 4-22 Enchantment 11-27-21 Enemies of Women 12-1 1-22 Exit the Vamp 12- 4-21 Eyes of the Mummv, The 6-25-22 Face in the Fog, The 10- 9-22 Find the Woman 4- 9-22 First Love (Realart) 12-21 Fool's Paradise 9-19-21 Footlights 10- 2-21 Forever 3- 5-22 For the Defense 7- 2-22 Game Chicken, A 2-26-2.? Get Rich Quick Wallingford 12- 4-21 Ghost Breaker, The 10-16-22 Good Provider, The 4-30-22 Great Impersonation, The 10- 9-21 Greatest Truth, The 7- 9-22 Green Temptation, The 4- 2-22 Heart Specialist, The (Realart) 319-22 Her Face Value (Realart) 11-21 Her Gilded Cage 9- 4-22 Her Husband's Trademark 3-12-22 Her Own Money 2-19-22 Homespun Vamp, A (Realart) 2-12-22 Hush Money (Realart) 11-21 If You Believe It, It's So 8-14-22 Trnwossible Mrs. Bellew, TIt- 1127?2 Is Matrimony a Failure 4-30-22 Just Around the Corner 12-11-21 Ladies Must Live 11-13-21 Lane That Had No Turning, The 1- 5-22 Last Payment, The 12-25-21 Law and the Woman, The 2- 5-22 Little Minister, The 12-25-21 Love Charm, The (Realart) 12-21 Love's Boomerang 2-19-22 Loves of Pharaoh 8-28-22 Man From Home, The 5-21-22 Man Unconquerable, The 7- 2-22 Manslaughter 925-22 Man Who Saw Tomorrow, The 11- 6-22 Midnight (Realart) 2-26-22 Miss Lulu Bett 1- 1-22 Missing Millions 1-22-23 Mistress of the World 3 12-22 Morals (Realart) 11-21 Moran of the Lady Letty 2-12-22 Nancy From Nowhere 1-22-22 Nice People 9- 4-22 North of the Rio Grande 5-14-22 Old Homestead, The 10- 9-22 One Glorious Day 2- 5-22 On the High Seas 1 1 - 6 22 Ordeal, The 5-21-22 Our Leading Citizen 6-18-22 Outcast, The 12-11-22 Over the Border 6- 4-22 Pink Gods 10- 2-22 Pride of Palomar, The 11-27-22 Prince There Was, A 1-15-22 Red Peacock, The 2-26-22 Rent Free 1 -1-22 Saturday Night 2- 5-22 Sheik, The 11-20-21 Singed Wings 12-18-22 Siren Call, The 9-18-22 Sleepwalker, The 4- 9-22 Spanish Jade, The 4-30-22 Speed Girl, The (Realart) 10-21 South of Suva 7-16-22 Thirty Days 1- 8-23 Three Live Ghosts 1-29-22 Three Word Brand 10-16-21 Through a Glass Window 4- 2-22 Tillie (Realart) 1-29-22 Travelin' On 3 -5-22 To Have and To Hold 10-30-22 Top of New York, The (Realart) 8-21-22 Too Much Wife (Realart) 1- 8-22 Truthful Liar, The (Realart) 4-23-22 93 JOHN G. ADOLFI, Director Current Release BETTY BLYTHE in "DARLING OF THE RICH" Coming Release All-Star Cast in "THE LITTLE RED SCHOOL HOUSE" 94 Release Title Date Under the Lash 12-18-21 Valley of Silent Men 9-11-22 Virginia Courtship, A (Realart) 12-21 When Knighthood Was in Flower While Satan Sleeps 9-18-22 White Oak 10-16-21 Wife Trap, The 5- 7-21 Woman Who Walked Alone, The 6-11-22 World's Champion, The 3-12-22 Young Diana, The 8- 7-22 Young Rajah, The 11-13-22 FILM BOOKING OFFICE OF AMERICA (R-C Pictures) At the Stage Door 12-11-21 Barricade, The 10- 2-21 Beyond the Rainbow 2-19-22 Bigamist, The 4- 2-22 Billy Jim 1 -29-22 Boy Crazy 3. 5.22 Broadway Madonna, The 10-29-22 Call of Home, The 2- S-22 Colleen of the Pines 7- 9-22 Duke of Chimney Butte 12- 4-21 Eden and Return 12-25-21 First Woman 4-30-21 Five Days to Live 1- 8-22 Foolish Age, The 10-16-21 Gay and Devilish 5-14-22 Glory of Clementina, The S-28-22 Good Men and True 11-12-22 Hound of the Baskervilles, The 10- 1-22 If I Were Queen lO-lS-22 Tn the Name of the Law 8-20-22 Kick Back, The 9- 3-22 Lure of Jade, The 11-27-21 My Dad 7-23-22 Nine Points of the Law Possession 11-20-21 Queen O' the Turf 4-16-22 Silent Years 12-11-21 Son of the Wolf 6-11-21 Snowshoe Trail 9-17-22 Swamp, The 10-30-21 Thelma 11-26-22 Two Kinds of Women 1-22-22 Understudy, The 6-25-22 Up and at 'Em 8- 6-22 Vermillion Pencil, The 3-19-22 Why Men Forget 2- 5-22 Woman Breed, The 6-22 W'Vl Ciinniner, Inc. Alias Phil Kennedy 4-22 Blond Vampire, The 4-22 Blue Mountain Mystery 5-22 Bootleggers, The 4-22 Don't r?lame Your Children 4-22 Fire Bride, The 3-22 Fool'sh Monte Carlo 5-22 Madness of Love, The 4-22 Mrs. Dane's Confession 6-22 Old Oaken Bucket, The 10-21 Our Mutual Friend 12-21 What Do Men Want 11-21 White Hands 1-22 FOX FILM CORP. Special Scries Fast Mail, The 8-20-22 A Fool There Was 9-10-22 Footfalls 11-13-21 Last Trail, The 11-27-21 Lights, of New York 12-12-22 Monte Cristo 9- 3-22 My Friend the Devil 11-19-22 Nero 9-17-22 Queen of Sheba 12-11-21 Perjury 10-30-21 Shame 10-16-21 Silver Wings 8-27-22 Thunderclap 10- 2-21 Town That Forgot God Village Blacksmith, The Who Are My Parents 11 -26-22 (A Little Child Shall Lead Them) Pearl White Series Any Wife 1- 1-22 Broadway Peacock, The 2-19-22 Without Fear 4-16-22 Release Title Date Tom Mix Series Chasing the Moon 2-26-22 Do and Dare 10- 1-22 Fighting Streak 5-14-22 For Big Stakes 6-18-22 Just Tony 8-20-22 Romance Land 10- 1-22 Rough Diamond, The 10-30-21 Sky High 1-22-22 Tom Mix in Arabia 11- 5-22 Trailin' 12-11-21 Up and Going 4- 2-22 William Farnum Series Moonshine Valley 8-27-22 Shackles of Gold 5- 7-22 Stage Romance 3- 5-22 Without Compromise 10-23-22 Charles Jones Series Bar Nothin' 10- 2-21 Bells of San Juan 10-15-22 Boss of Camp 4 11-26-22 Pardon My Nerve 3-5-22 Riding With Death 11-13-21 Rough Shod 6- 4-22 Trooper O'Neil 7-16-22 West of Chicago 9- 3-22 Western Speed 4-23-22 John Gilbert Series Arabian Love 4- 9-22 Calvert's Valley 10- 9-22 Gleam O' Dawn 1- 8-22 Honor First 8-27-22 Love Gambler, The 9- S-22 St. Elmo 10- 8-22 Yellow Stain, The 5-21-22 William Russell Series The Crusader 9-10-22 Desert Blossoms 11-13-21 Lady from Longacre 10- 2-21 Great Night, The 12- 3-22 Men of Zanzibar, The 5- 2-22 Mixed Faces 10-22-22 Money to Burn 4- 2-22 Roof Tree, The 12-25-21 Self-Made Man, A 6-25-22 Strength of the Pines 2- 5-22 Shirley Mason Series Jackie 11-27-21 Lights of the Desert 6-11-22 Little Miss Smiles 1-15-22 New Teacher. The 8-20-22 Pawn Ticket 210 12-24-22 Queenie 10- 9-21 Ragged Heiress, The 3-19-22 Shirley of the Circus 11-12-22 Very Truly Yours 4-30-22 Youth Must Have Love 10- 1-22 Dustin Farnum Series Devil Within. The 11-20-21 Iron to Gold 3-12-22 Oathbound 8-13-22 Strange Idols 5-28-22 While Justice Waits 11-27-22 Yosemite Trail, The 9-24-22 20th Century Series Bucking the Line 11- 6-21 Cinderella of the Hills 10-23-21 Elope If You Must 4- 2-22 Extra ! Extra ! 3- 5-22 Jolt, The 11-20-21 Little Miss Hawkshaw 9-25-21 Whatever She Wants 12-11-21 Winning with Wits 1-8-22 Smiles Are Trump 2- 5-22 GOLDWYN PICTURES CORP. Ace of Hearts, The 10-21 All's Fair in Love 9-21 Always the Woman 7-22 Be Mv Wife 12-21 Brothers Under the Skin 11-22 Come On Over 3-22 Dangerous Curve Ahead 10-21 Doubling for Romeo 1-22 Dust Flower, The 7-22 For Those We Love 9-21 From the Ground Up 12-21 (Continued on page 303) 95 THE SATURDAY EVENIMG POST Nov