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PICTORIAL HISTORY

OF THE

MOVIES

by
Deems Taylor

Marcelene Peterson and Bryant Hale

SIMON AND SCHUSTER • NEW YORK

About the Appearance of Books in Wartime

A recent ruling by the War Production Board has curtailed the
use of paper by book publishers in 1943.

In line with this ruling and in order to conserve materials and
manpower, we are co-operating by:

1. Using lighter-weight paper, which reduces the bulk of our
books substantially.

2. Printing books with smaller margins and with more words
to each page. Result: fewer pages per book.

Slimmer and smaller books will save paper and plate metal
and labor. We are sure that readers will understand the pub-
lishers' desire to co-operate as fully as possible with the ob-
jectives of the War Production Board and our government.

SECOND PRINTING

INCLUDING THE RIGHT OF REPRODUCTION

IN WHOLE OR IN PART IN ANY FORM

OR FOR ANY USE WHATSOEVER

WITHOUT THE WRITTEN CONSENT OF THE PUBLISHER

PUBLISHED BY SIMON AND SCHUSTER, INC.

ROCKEFELLER CENTER, 1230 SIXTH AVENUE,

NEW YORK 20, N. Y.

MANUFACTURED IN THE UNITED STATES OF AMERICA
BY AMERICAN BOOK-STRATFORD PRESS, INC., NEW YORK

ACKNOWLEDGMENTS

The publishers wish to thank the motion-picture companies, whose names appear in the
captions, for their permission to reproduce copyrighted photographs. In addition thanks are
due the Museum of Modern Art for generously making available the photographs on pages:

3 (above), 4 (below), 6 (below), 7, 8, 11 (above
left), 14 (below), 18 (below left), 19 (above), 22
(above right), 23, 24, 27 (below), 28 (below), 30,
31 (above), 33 (above), 34 (above), 35 (above
right and below), 36 (above), 38 (below), 39
(above right and below), 41, 42, 46 (above), 49
(below), 55 (below), 56, 61 (above), 63 (above),
65 ( above ) , 66 ( above left and below ) , 67 ( above
right), 70 (below), 74 (below), 75 (below), 78
(above right), 80 (below), 82 (above right), 83
(above left), 86 (below), 87 (below), 90 (above),
92, 94 (below), 103 (above), 104 (above), 110
(above right), 111 (above right), 115 (below),
116, 117, 119, 122 (below), 123, 124, 127 (below),
130, 131, 134 (above left and below), 144 (below),
145 (above left), 146, 147 (above right), 148 (be-
low), 149 (below), 150, 151, 152 (above), 153
(above), 158, 159 (below), 160 (below), 161
(above), 163 (above right), 165 (above), 166
(above), 168 (below), 169 (below), 170, 172, 173
(below), 175 (above), 179 (below), 180 (below),
182 (above left), 183 (above), 184 (above), 185,

186 (above), 188 (below left), 189 (above), 192
(above), 193 (above right and below left), 194
(above), 195 (below), 197 (below), 198 (above),
202, 203 (above left and below), 204 (above left
and below right), 205 (above), 206 (above), 209
(below), 215 (below), 217 (below), 219 (above),
220 (below), 221 (below), 222 (above), 224, 225
(below), 227 (below), 228 (above), 230, 232
(above right and below), 238, 241, 245 (above
right), 247 (below), 248 (above), 252 (below),
254 (below), 255 (above), 256 (above), 261
(below), 264 (above right), 266 (above right and
below), 270, 271, 272 (above), 273 (above), 277
(above), 280 (above), 281, 282 (above right and
below), 283 (above), 284, 285 (below), 286, 287,
288, 289, 290, 291, 292, 293, 295, 296 (above),
297 (below), 298, 299, 300, 301, 302, 303 (below),
304 below), 305 (below), 306 (below), 307
(above), 308, 309 (above), 310, 312, 313, 314, 315
(above), 316, 317, 318, 319, 320 (above), 322
(above), 324 (below), 325, 326, 327, 328 (above),
329 (above), 330 (below), 338.

The Picture Collection, The New York Public Library, kindly made available the photo-
graphs on pages:

43, 166 (below), 187, 193 (below right), 240
(above), 244 (below), 248 (below), 250, 252
(above), 253 (above), 257 (below), 258 (above),
260 (above), 262 (below), 266 (above left), 267
(below), 275 (above right), 276 (below), 285

(above left), 294, 297 (above), 303 (above), 304
(above), 320 (above), 321, 322 (below), 323, 328
(below), 329 (below), 330 (below), 334 (above
right), 335, 336, 337.

We also wish to thank the Historical Collection of the Security-First National Bank of
Los Angeles; and Philip T. Hartung, of the Museum of Modern Art Film Library staff, for
his valuable assistance. Finally, Herbert R. Cahn planned the layout and typography, and
Bart Keith Winer saw the book through press.

CONTENTS

1. BIRTH AND INFANCY (1893-1914) 1

2. GRIFFITH TURNS A PAGE (1915-1919) 45

3. THE TWENTIES (1920-1927) 97

4. COMES THE REVOLUTION (1927-1928) 201

5. THE TALKING PICTURE (1929-1941) 213
APPENDIX 339
INDEX 341

This drawing of a running boar may be considered
the common ancestor of all motion pictures— the
movie to begin movies. It was drawn by an anony-
mous artist, about twenty-five thousand years ago,

on the wall of a cave in Altamira, Spain. Whoever
he was, this antediluvian Disney was capable of
analyzing motion, and of making a brave attempt to
convey it in terms of two dimensions.

INTRODUCTION

Twenty years ago, people used to excuse a
bad movie by remarking that "the motion pic-
ture is in its infancy." Today, whenever a par-
ticularly bad picture swims into our ken, we say
the same thing sarcastically, confident that we
have thereby delivered a stinging rebuke to the
unfortunate movies for not developing faster.
Yet consider the motion picture's immediate an-
cestor, the drama. Twenty-four hundred years
ago, Aeschylus, Aristophanes, and Sophocles were
writing dramatic masterpieces that must have
been the culmination of centuries of patient trial
and error by long-forgotten journeymen play-
wrights. Fifty-four years ago (1943 speaking)
the very first motion picture was put upon film.
Forty years ago the first motion picture to tell
a story, The Great Train Robbery, was re-
leased. Its producer, Edwin S. Porter, died on
April 30, 1941, at the age of seventy-one. David
Wark Griffith, the great pioneer of the pictures,
was sixty-three years of age in 1943. Now go
back twenty-four centuries. Compare the prog-
ress of the drama since the days of Sophocles
with the progress of the motion picture in the
half century of its existence. Do you feel a little
more charitably inclined toward the shortcom-
ings of the younger art?

For it is an art. Within the past two decades
it has produced films that rank with the best
work of our contemporary playwrights and pro-
ducers. Viewing the average, run-of-the-mine
motion picture, you may be excused for being
skeptical on that point. But remember that it is
an art that has the misfortune to be likewise an
industry. It serves a public that is voracious and
uncritical— the public that Shakespeare was serv-
ing when he wrote the bitterly-titled As You
Like It (I refer to the play, not the incidental
poetry of the language ) . There are so many thou-
sand movie houses, and there must be pictures
to show in them. Considering the assembly-line
conditions under which the average picture must
be turned out, the wonder is, not that there are
so few good pictures, but that there are any at
all. Particularly is this to be wondered at in view

of the fact that the producer of a really first-
rate motion picture is generally thankful if he
can get his investment back, let alone make a
profit.

Furthermore, here is an art that had to change
its basic technique almost overnight. Up to 1927
the motion picture was pure pantomime, and
had developed that art to an astonishing degree
of effectiveness. Suddenly, with the production
of The Jazz Singer, producers, directors, and
actors were confronted with the necessity of
combining pantomime with dialogue— two ele-
ments that had hitherto been considered ir-
reconcilable. At first they floundered. The earli-
est talking pictures were, most of them, little
more than animated photographs of stage plays.
But "all-talking" pictures didn't work. The mys-
terious quality of personality, which so helps an
actor to hold his audience, is vastly diluted in
a photograph, even though the photograph may
move and speak. Scenes of uninterrupted dia-
logue, without action, however effective they
may have been in the theater, were a bore when
they were transferred literally to the screen. On
the other hand, the exaggerated gestures and
play of facial expression, so indispensable to the
silent pictures, looked ridiculous when they were
accompanied by conversation. A new technique
was imperative; and in an amazingly short time
the makers of films worked one out. The mod-
ern motion picture is about two-fifths dialogue,
three-fifths mute action. The camera technique
of the silents— close-ups, half shots, long shots,
variety in lighting and camera angles— is re-
tained; but the actors move, gesture, and "mug"
much less than they do on the stage. Music and
sound effects are an integral part of the picture,
filling in the otherwise silent sequences and
sometimes serving as a background for the dia-
logue.

Such is the motion picture of today. This book
is an attempt to trace, in visual terms, the evo-
lution of that picture, and to show you its pres-

INTRODUC HON

ent status. It makes no pretense of being a criti-
cal survey, nor is it, except in the most summary
sense, a history of the movies. It is, as the title
implies, a pageant, a chronological series of pic-
tures in which the films tell their own story—
that part of the story which took place in the
United States. The limitations of space have
forced us to decide, however reluctantly, to con-
fine this record almost exclusively to American
films.

Even so, the series is inevitably incomplete
and far from detailed. In all probability no two
readers of this book will agree as to exactly what

pictures and actors should have been included
or omitted. But reflect: to show even a single
shot from every motion picture made since 1903
would require approximately fifty volumes the
size of this one. With such a vast storehouse of
material to draw upon, the authors had no al-
ternative but to make an arbitrary selection,
choosing such pictures as, in their belief, would
serve at least to high-light the outlines of a
complicated and fascinating panorama.

So much for the newsreel. Now for the main
feature

Deems Taylor

'-4

1. Birth and Infancy

a.d. 1835. An early-nineteenth-century attempt to
show motion pictorially. By raising and lowering the
lever, the spectator made the cow obediently raise
and lower its head.

FmiIij Sound Effects. A mid-nineteenth-century view
of the sound-effects department behind the screen of
a magic-lantern show.

BIRTH AND INFANCY

Motion Has Its Picture Taken. During the 1870's
Eadweard Muybridge, visiting Lcland Stanford's
California ranch, erected a battery of twenty-four
cameras along Stanford's private race track. A thread
stretching across the track at various intervals was
attached to each shutter. As a horse ran past the
cameras, he broke the threads, therebv photograph-
ing the successive phases of his action. For the first
time in history, continuous motion was photographi-
cally analyzed. Later, Muybridge made similar series
of pictures, using multiple shutters on one large
plate camera ( film had not vet been invented ) . The
picture above is one of the many experiments he
conducted for Columbia University in 1875 showing
figures in motion.

BELOW LEFT

Muybridge published two books of his pictures, later
entitled Animals in Motion and The Human Figure
in Motion, and for years these were source books for
artists and illustrators. Here he is, shaking hands
with one of his models.

BELOW RIGHT

The First Movie Film. W. K. L. Dickson (figure
with hand on the horse) produced this film— the
"first" has been disputed— and Thomas A. Edison
shot it on a film base provided by George ( "Kodak" )
Eastman. The year was 1889.

FRED OTT'S SxNEEZE (1893)

The First Movie Studio. Officially called "The Kinet-
ographic Theatre," popularly known as "The Black
Maria," the first movie studio was built for the Edi-
son Company in West Orange, New Jersey, in 1893.
Painted black both inside and out, it rested on a
base that revolved, thus enabling it to follow the
sun. In this way the actor was always brightly lighted
against a dead-black background. The cost of this
weird contraption— all of $637.67.

BELOW LEFT

The First Movie Exhibitor. The first important movie
exhibitor, it was called the Edison Kinetoscope. You

saw the pictures by peering through the eyepiece at
the top. Edison pinned his faith to the Kinetoscope
and saw no future in pictures projected on a screen.

BELOW RIGHT

The First Movie Actor. Fred Ott, an erstwhile co-
median who worked for the Edison Company in
1893, was the first subject chosen by Director Dick-
son to enter the Black Maria and be shot doing his
specialty— and he sneezed his way into history. (His
right to the title of first actor has been disputed.)
Fred Ott's Sneeze belongs to the ages.

^^•^^•S*

fm Ws? w.

BIRTH AND INFANCY

thi. Wonderful Mutoscope showinc

MOVING PICTURES «««« FROM LIFE

The First Projected Picture. In 1894 Woodville
Latham perfected a machine somewhat similar to
the Kinetoseope, with the added feature of being able
to project its pictures on a screen. He and his sons,
Grey and Otway, figured they could make much
more money from a picture if thirty or forty cus-
tomers could see it at once, instead of waiting their
turn to peep through the eyepiece of a machine.
For their new apparatus they photographed a prize
fight between Young Griffo and Battling Barnett on
the roof of New York's Madison Square Garden and
exhibited the result on May 20, 1895.

IN 5L0T-KEEP TURNING CRANK TO THE RIOHT,

AND VOU WILL SEE

How the Porto Rican Girls

Entertain Uncle Sam's Soldiers.

The lucrativeness of the Kinetoseope soon brought
rivals into the field. Here is a poster (about 1895)
for one of the most successful of these, the Muto-
scope.

BELOW

The First Shocker. Among the peep-show epics of
1896 was this one, showing May Irwin and John C.
Rice in the prolonged kiss episode from their stage
success, The Widow Jones. Members of the clergy
denounced it as "a lyric of the stockyards": it broke
all attendance records.

THE EMPIRE STATE EXPRESS (1896)

A 1

t- it

Since the early motion-picture cameras were immov-
able, the performers had to move within a sharply
limited space. Here is Eugene Sandow— next to Sam-
son the most famous strong man in history— doing his
stuff for the Kinetoscope.

ABOVE RIGHT

The American Biograph Company made its debut
at Hammerstein's Olympia Music Hall, in New York,

during the fall of 1896, with several action shorts,
including The Empire State Express. The locomotive
bore down upon the audience with such terrifying
realism— so the story goes— that it emptied the first
fifteen rows and precipitated a near-panic.

BELOW

In 1896 T. L. Tally opened a Phonograph and
Vitascope Parlor on Spring Street, Los Angeles, where
the customers could hear the latest recorded song
hits and see motion pictures. So timid were most of
the patrons about going into the darkened projection
room that Tally had to rig up a partition facing the
screen, with holes in it through which the public
could view the pictures while remaining in the
brightly lighted parlor. In the picture, the Kineto-
scopes are at the left, the Mutoscopes in the center,
and the phonographs at the right. Just behind the
Mutoscopes is the projection-room partition, with
three holes for the seated patrons and four for the
standees.

BIRTH AND INFANCY

First CIiampionship-FigJit Picture. Here is the battle
between James J. ( "Gentleman Jim" ) Corbett and
Robert Fitzsimmons, at Carson Citv, March 17, 1897.
Enoch J. Rector photographed it on film for the
Veriscope, a machine built for the occasion. Notice
the copyright sign painted on the edge of the ring.

ABOVE RIGHT I

In 1898 E. H. Amet built a scale model of Santiago
Harbor and in it staged and photographed the sink-
ing of Admiral Cervera's fleet by the U. S. Atlantic
Squadron during the Spanish-American War. Since
the battle had been fought at night, Amet claimed
he had photographed it six miles away, using a spe-
cial supersensitive "moonlight" film! The public be-
lieved him!

ABOVE RIGHT 2

In 1899 William A. Brady, on behalf of the Ameri-
can Mutoscope & Biograph Company, filmed the first
fight picture made under artificial light— the Jeffries-

Sharkey championship battle. The heat of about four
hundred arc lamps above the ring almost cooked the
combatants. And the situation was not improved by
the discovery of Vitagraph cameramen in the twen-
tieth row, bootlegging pictures. The Vitagraph men
got away with their fives and film, but the pictures
did them little good, for Brady got out an injunction
against them. This is from the pirated film.

BELOW

We of today think of the documentary film as a
modern innovation. As a matter of fact, Edwin S.
Porter anticipated it with The Life of an American
Fireman, produced in the early 1900's. Porter was
the first to use the "cut-back"— showing shots of the
imperiled mother and child interspersed with shots
of the fire department dashing to the rescue.

THE GREAT TRAIN ROBBERY (1903)

Landmark. This same Edwin Porter, in 1903, pro-
duced die epoch-making film, The Great Train Rob-
bery. Though in action and plot, it was a ten-cent
thriller, it did tell a story— generally considered the
first motion picture to do so. One of its actors, G.
M. Anderson, later became famous as "Broncho
Billy." The Great Train Robbery was followed by a
string of similar melodramas— The Great Rank Rob-
bery, The Bold Bank Robbery, and so on— attempt-
ing to cash in on its tremendous success (even in
those days motion-picture producers were seldom
distinguished by striking originality ) . But they could
not rob it of the distinction of establishing the mo-
tion picture as a storytelling medium.

ABOVE LEFT

The Great Train Robbery featured George Barnes
(not by name, of course), and he brought the story
to the apex of excitement by discharging his gun full
in the faces of the spectators.

ABOVE RIGHT

In 1907 an obscure actor named David Wark Grif-
fith drifted into the Edison studios in the Bronx,
New York. Our old friend Porter, about to make a
one-reel thriller called The Eagle's Nest, cast him as
the hardy frontiersman who rescues a baby from the
clutches of a mighty eagle. Here he is. You will hear
more of him shor'y.

BIRTH AND INFANCY

After 1907 Edison had many lively competitors. Alert
showmen soon grasped the possibilities of the new
form of entertainment, and many new companies
came into existence. Among the best known and
most successful were Biograph, Vitagraph, Melies,
Kalem, Lubin ( in Philadelphia ) , Thanhouser, and
Essanay and Selig (in Chicago). Here is a scene
from the Vitagraph picture, Romeo and Juliet ( 1908 ).
Notice the Vitagraph trade-mark on the canopy of
Juliet's bed.

ABOVE BIGHT

Another scene from Romeo and Juliet— the duel be-

tween Tybalt and Mercutio. As a New Yorker might
point out, the "public place in Verona" where the
duel occurs bears a suspicious resemblance to the
parapet overlooking the Bethesda Fountain in Cen-
tral Park. The mustached Romeo is Paul Panzer.

Here is the infant star of The Eagle's Nest being
carried off by a stuffed eagle and being pretty dis-
agreeable about it. Distant landscape supplied by
Richard Murphy.

ROMEO AND JULIET (1908)

Studios were becoming larger and more elaborate,
but the tradition of Edison's Black Maria was by no
means dead. Here is an early studio erected on the
roof of a New York office building. The shed holds
the camera, the frame at the other end holds the
scenery, and the whole apparatus revolves on its

turntable so as to catch the sun— if any— all day.

BELOW

The Edison studios in the Bronx were more preten-
tious. Since sound did not matter, two or more pic-
tures, as in this view, could be shot simultaneously.

BIRTH AND INFANCY

In the late 'SO's H. H. Wilcox, a prominent citizen
of Los Angeles, California— then a town of 25,000
inhabitants— owned a fig, apricot, and citrus ranch
seven miles out of town. Mrs. Wilcox, traveling in
the East, met a woman on the train who referred to
her country place "Hollywood." The name struck
Mrs. Wilcox's fancy, and on her return she named
the Wilcox ranch Hollywood. This is Hollywood in

the early '90's. The road is Wilcox Avenue, looking
north to what is now Hollywood Boulevard.

BELOW

The Wilcox ranch was eventually subdivided into
building lots and by 1900 had a population of five
hundred. Hollywood Boulevard, near Wilcox Ave-
nue, looked like this in 1901.

THE NEW YORK HAT (1912)

Glamour Girl Number One. In 1908 a fifteen-year-
old named Gladys Smith played a child part in
David Belaseo's production of The Warrens of Vir-
ginia. A year later she applied for a job at the Bio-
graph Studios. David W. Griffith, who had aban-
doned acting for directing, was struck with her
looks and gave her a chance in The Lonely Villa, a
one-reeler starring Mary Leonard (at the telephone
in the picture above ) . The young girl was an instant
success, and Griffith promoted her to leads. Motion-
picture actors were anonymous in those days, and
audiences knew her as "Little Mary" long before
she emerged as Mary Pickford.

In 1909 Griffith, working for Biograph, took a com-
pany to California— not to establish permanent quar-
ters, but simply to escape the New York winter. He
made several pictures on the Coast. One of them, in
1912, was The Mender of Nets, with Mary Pickford.
Griffith's reputation as an artist was solidly grounded.

BELOW

Griffith paid fifteen dollars for a story by a San Diego
high-school girl named Anita Loos and produced it,
in 1912, as The New York Hat. Our Mary played
the lead. Opposite her Griffith placed a promising
young actor who had just returned from Paris, where
he had been studying painting— Lionel Barrymore.

BIRTH AND INFANCY

William N. Selig, a Chicago producer, was the first
man to build a motion-picture set on the West Coast.
Needing brighter and more dependable sunshine
than Chicago provided, he sent Francis Boggs,
Thomas Parsons, and a small company of actors to
Los Angeles in 1907. Later, on a roof at Eighth and
Olive Streets they built this set— for a one-reel ver-
sion of Carmen. The bull-fight poster was made from
a tobacco carton.

ABOVE RIGHT

Here are two Selig stars, Robert Z. Leonard and
Hobart Bosworth, in The Code of Honor. Leonard
started in pictures in 1907, became a star, but even-
tually tired of acting and turned to directing pic-
tures for Mae Murray. His greatest directorial suc-

cesses, however, came after the advent of talking
pictures. More of him later.

BELOW

There were signs of the coming trek to California.
Adam Kessel had formed the Bison Company and in
November, 1909, it arrived on the West Coast and
established itself in a former grocery store on the
outskirts of Los Angeles. Here are the pilgrims at
their Thanksgiving dinner. At the extreme left sits
Fred Balshofer, with J. Barney Sherry two places
above him. The man with the snappy buttoned shoes,
opposite him, is Frank Montgomery. Lifting his glass
at the table on the right is Jack Conway, faced by
Buster Edmonds. Looking out from behind Mont-
gomery are Howard Davies and George Gebhardt.
The cowboy in the right-hand background is Art
Acord.

THE CODE OF HONOR (1907)

BELOW

In the same year Carl Laemmle organized his Inde-
pendent Motion Picture Company, popularly known
as IMP. An ex-clothing-store manager from Osh-
kosh, Wisconsin (really!), he had arrived in Chi-
cago in 1905 with $2500 to invest. With this he
opened his first motion-picture theater on Milwaukee
Avenue. When it prospered, he op ned others. In
1909 he decided to make his own pictures for re-
lease in his theaters. One of the IMP's coups was to
lure Mary Pickford and Owen Moore away from
Biograph with promises of more money and more
publicity. Up to the time she joined IMP, Mary's
name had never appeared on a screen or poster. She
left IMP for Majestic after a short stay and then
returned to her first love, Biograph. Thomas Ince,
later to become a producer in his own right, was one
of Laemmle's directors.

m, JANEt14e

RIGHT

One of IMP's important stars was King Baggott, who
had started as an actor in a stock company in St.
Louis. Here is one of his posters. The man with the
rope in his hand is Hayward Mack.

NQI MARY P.-CKFORD

2 OWEN MOORE—

3 KING BAGGOTT

4 THOMAS 1NCE"

5 JACK PICKFORD
C ISABEL RAE —

7 LOTTIE PICKFORC
5 JOE SMILEY
9 WILLIAM SHAY-
0MP5.DAVID MILES
JOE MACDONALD

12 HAYWARD MACK

13 MPS. JOE MAC00NALI

14 JOHN HARVEY
I5GE0PGEL0ANETUCK

16 DAVID MILES

17 MRS PICKFORD

18 ROBERT DALEY

19 TONY GAUDIO

BIRTH AND INFANCY

The "girl" in the Baggott poster is Florence Law-
rence (the famous "Biograph Girl"), whom IMP
had captured from Biograph. Having played leads
for Vitagraph, she then joined Biograph and became
tremendously successful, particularly as a stunt act-
ress. Here she is in a rather less strenuous, if equally
exciting, mood.

In 1909, Winsor McCay, cartoonist for the New
York American, exhibited a drawn motion picture he
had made— Gertie the Dinosaur. Ten thousand draw-
ings comprised the picture. Gertie was the first ani-
mated cartoon of any consequence and she was sel-
dom surpassed until Walt Disney came upon the
screen twenty years afterward.

GERTIE THE DINOSAUR (1909)

Al Christie began his screen career as actor and
director in "Westerns," as the above— shot in the
vast prairies around Bayonne, New Jersey, about
1909-indicates. In the fall of 1911 Christie and a
group of actors went West, arriving in Hollywood
late in October. The company stopped at Blondeau
Tavern, an old roadhouse at the corner of Gower
Street and Sunset Boulevard. Christie was so struck
by the beauty of the location that he closed a deal
whereby, for thirty dollars a month, he was allowed
to set up his cameras in the back yard and shoot his
pictures against the semitropical vegetation sur-
rounding the inn.

ABOVE RIGHT

Bosworth remained under the Selig aegis for many

years as director and leading man. Here he is (at
right) in the 1909 production of The Count of
Monte Cristo.

When Theodore Roosevelt was planning his famous
African expedition, a Selig cameraman was supposed
to accompany him to make an exclusive record of
the trip. At the last minute Selig lost out. Nothing
daunted, he rigged up his own jungle in his Chicago
studio, made up one of the extras as Theodore, and,
aided by a trained lion and some tropical props, shot
Hunting Big Game in Africa. The public flocked to
it and refused to believe they were not seeing a
genuine travelogue. We are told that even Africans
considered it authentic.

BIRTH AND INFANCY

This view of a Universal (ne IMP) set shows the
observation stand where, for twenty-five cents apiece,
visitors could sit and watch the picture being shot.
( It was not long before the overfrank comments, not
to say snickers, of the visitors put an end to this
practice. A present-day studio is as rigidly policed
as a reform school. ) Harry Carey, hero of many a
horse opera, is seen here protecting the ranch gal in
a scene from Love's Lariat.

BELOW

The First Hollywood Comics. Having made West-
erns in New Jersey, Christie, "logically" enough, be-

gan filming comedy shorts as soon as he arrived on
the West Coast. His troupe was known as the Nestor
Company, and the group below probably includes
one or more of your old-time favorites. They are:
standing, left to right, Harry Rattenbury, George
French, Anton Nagy (cameraman), Al Christie,
Eddy Barry, Al's brother Charles, unidentified cam-
eraman, Horace Davis (director), unknown, and a
Mr. Lyons; seated, Lee Moran, Ukulele Jane, Eddie
Lyons, Betty Compson, Billie Rhodes, Ray Gallagher,
Stella Adams, and Neal Burns; on the floor, Joseph
J. Janecke, Gus Alexander, unknown.

JACKANAPES ( 1910)

Players in early mob scenes had to riot with a cer-
tain degree of restraint, lest they kick over or ram
through the architecture. This somewhat constricted
melee is from another Bosworth film, Jackanapes.
Bosworth is standing, second from the left.

BELOW LEFT

Nestor comedies were ground out as fast as one or
two a week. Here is an early one, featuring (left to

right) Dorothy Davenport (later Mrs. Wallace Reid),
Harold Lockwood, Donald MacDonald, and Eugenie
Forde.

BELOW BIGHT

A later (1913) Nestor comedy, featuring Eddie
Lyons, Betty Compson (who later achieved stardom
in The Miracle Man), and Lee Moran.

BIRTH AND INFANCY

The same month (October, 1911) that Al Christie
arrived in Hollywood, Dave Horsley also arrived, fell
in love with the spot, and started construction of a
permanent studio for the Nestor Company, on the
corner opposite the Blondeau Tavern, where Chris-
tie's group was temporarily lodged. This was the
first studio especially built for a motion-picture com-
pany in Hollywood. The spot became the first cen-
ter of Hollywood production activities. To this day,
the corner of Gower Street and Sunset Boulevard is
known as "Gower Gulch" to the cowboy extras who
still congregate there.

BELOW

To the movie fan of the early 1910's the name of
John Bunny, Vitagraph's star comedian, meant what
Charlie Chaplin's did a decade later. His enormous
following (not to be confused with his avoirdupois)
made his one- and two-reelers bonanzas at the box
office. Today, stills from his pictures are almost un-
obtainable. This one comes from a picture released
by Vitagraph about 1911.

Remember?

FROM THE MANGER TO THE CROSS (1911)

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One of the most beautiful and popular stars of the
period, Alice Joyce. She enjoyed an unusually long
career, appearing as a featured player as recently as
1930.

BELOW

In its primitive years the motion picture made little
pretense to authenticity in its settings. The Jersey or
California countryside represented any landscape on
earth, while architectural backgrounds, from draw-
ing rooms to castles, were unashamedly painted on

canvas. In 1911, however, Kalem went in for authen-
ticity on a scale hitherto undreamed of and sent an
entire company abroad under Director Sidney Ol-
cott. The trip covered many countries— including the
Holy Land, in which From the Manger to the Cross
was actually photographed. This scene shows Christ
healing the blind man outside of Jericho. R. Hender-
son Bland, in white, portrays the Saviour; Alice Hollis-
ter, second from the right, is Mary Magdalene; Sidney
Olcott, crouching, right, is the blind man, with Jack
Clark, bending over him, one of the disciples.

BIRTH AND INFANCY

Because of its restraint and reverential spirit, From
the Manger to the Cross became an immense suc-
cess. Costing about $35,000, it made a profit of
nearly a million dollars. Above is another scene from
the picture. R. Henderson Bland is on the couch at
the right, with Alice Hollister kneeling at his feet
and Jack Clark leaning against the pillar in the back-
ground. Between them is J. P. MacGowan, a Boer
War veteran who later became a director. Another
actor who turned director was Robert Vignola,
shown here, in the left foreground, as Judas.

In 1912 came the film destined to establish the mo-
tion picture as a work of art. It was Queen Eliza-
beth, produced in France by Louis Mercanton and
starring Sarah Bernhardt. Every stage actor's trag-
edy is that his art dies with him, and the "Divine"
Sarah quickly realized that this new medium would
give her acting a permanence beyond the span of
her life. Of Queen Elizabeth she remarked: "This is
my one chance of immortality."

QUEEN ELIZABETH (1912)

Besides introducing Bernhardt to the screen, Queen
Elizabeth laid the foundation for the spectacular ca-
reer of one of filmdom's most famous and successful
producers— Adolph Zukor. His idea was to produce
"famous players in famous plays," and the Bern-
hardt picture gave him his chance. After importing
the picture from France, Zukor persuaded Daniel
Frohman to become his partner in presenting it to
the public, for Frohman's name was a synonym for
the finest in the American theater.

BELOW

Queen Elizabeth opened at Frohman's Lyceum The-
ater, in New York, at an invitation matinee on July
12, 1912. Zukor had guessed right. The names of
Bernhardt and Frohman drew a crowd of political,
artistic, and financial celebrities who sat spellbound
through its unprecedented length (four reels) and
cheered at the end.

BIRTH AND INFANCY

Although Queen Elizabeth was technically far ahead
of anything previously seen on the screen, judged
hy modern standards it was still a p/imitive effort.
Most of it was photographed according to accepted
stage technique— as if viewed from a fixed point in
the middle distance. Because of the absence of
close-ups, much of Bernhardt's wonderful play of
facial expression was lost. Here is the nearest ap-
proach to a close-up, showing Bernhardt as Eliza-
beth and Lou Tellegen, her leading man, as Essex.

BELOW

Zukor and Frohman, after the success of Queen
Elizabeth, began to make good their promise of

"famous players in famous plays." In 1913 their new
producing organization, Famous Players, signed up
Mary Pickford, who had left Biograph to play in
David Belasco's production of The Good Little
Devil. The film version of the play marked her first
appearance under the Zukor banner. During her suc-
ceeding years with Famous Players, Mary Pickford
became world-famous. Here she is in the film ver-
sion of In the Bishop's Carriage.

ABOVE RIGHT

Zukor teamed Mary Pickford with her husband,
Owen Moore, at that time one of the screen's most
popular male stars. They appear here in a scene
from Caprice, made in 1913.

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(1913)

Here is a scene from D. W. Griffith's most ambitious
production up to this point in his career, 1913. Like
Queen Elizabeth, Juditli of Betliulia was a four-
reeler. It was one of Griffith's first California pic-
tures and featured Henry B. Walthall and Blanche
Sweet (seen above).

BELOW

A 1913 shot of D. W. Griffith at work. The camera-
man is the famous G. W. ("Billy") Bitzer. At the
right, obviously desperate at having had his fifth
consecutive wrong number, is Henry B. Walthall.
The picture is The Escape.

BIRTH AND INFANCY

Famous Players was the first company to lay par-
ticular stress on acting ability and, in pursuit of this
policy, induced many stage stars to appear in pic-
tures. James K. Hackett was one of its early recruits,,
shown here in a 1913 production of The Prisoner of
Zenda, with Beatrice Becklev. The picture was di-
rected by Daniel Frohman and our old friend, the
producer of The Great Train Robbery, Edwin S.
Porter. Incidentally, motion-picture sets were obvi-
ouslv becoming more realistic.

Essanay, meanwhile, was building up its own stars
from the ranks of picture players. One of these was
G. M. Anderson, who, starting from a small part in
The Great Train Robbery, became a great favorite
in Westerns as "Broncho Billy." He is shown here,
taking it lying down in an Essanay epic of 1912.

BELOW

Or were the sets improving? The bread and cot are
convincing enough, but the dungeon wouldn't fool
anybody— except, perhaps, the prisoner, Edmond
Dantes, played here by James O'Neill (father of
Eugene) in a 1913 Famous Players production of
The Count of Monte Cristo.

THE VAMPIRE ( 1913 )

To Kalem goes the dubious honor of making the first
"vampire" picture, and to Alice Hollister ( the Mary
Magdalene on page 20) goes the artificial palm for
being the first of that evil brood. The typical screen
vampire lived a painfully circumscribed life— while
it lasted. She was not allowed to pat a dog, say a
kind word to a child, or even notice one. She had to
mess things up between the hero and his girl friend,
knowing in advance ( if she had ever seen a vampire
picture) that she was destined to lose him and to
come to a bad end. A scene from the first of the se-
ries (about 1913), entitled, oddly enough, The Vam-
pire, is shown above, with Miss Hollister and Harry
Millard. Millard's pose is suggestive of Fred Allen's
definition of a gentleman as "one who never strikes
a woman with his hat on."

Greatest of all the Essanay stars, the Clark Gable of
his day, was Francis X. Bushman. After an early and
indifferently successful career as clerk, miner, pro-
fessional bicyclist, sculptor's model, and actor, he
won a Most Handsome Man contest sponsored by
The Ladies World. On the strength of this he got
a job with Essanay in 1911. The women fell for him
in droves, and Essanay costarred him with Beverly
Bayne (whom he later married) in a long series of
two- and three-reel society dramas. They are shown
here in a typical scene, made in 1913. Bryant Wash»
burn is the cynical young man at the left. Inciden-
tally, take a long look at the extra girl at the bridge
table, just visible to the left of Bushman. Her name
is Gloria Swanson.

BIRTH AND INFANCY

Here is Miss Hollister again, vamping away in The
Destruijer. The faintly wrinkled tights are a conces-
sion to the 1913 moral code of the movies.

brother-in-law, Samuel Goldfish (later Goldwyn),
and a young stage director named Cecil B. DeMille,
to form the Jesse L. Lasky Feature Play Company.
Above, Lasky is looking dismayed at the Hollywood
barn that was their first studio. It stood at the corner
of Selma Avenue and Sunset Boulevard.

ABOVE RIGHT

The year 1913 saw one of the first foundations of
what is now Paramount Pictures, Inc. Jesse Lasky
started his career as a cornet player, doing the
vaudeville circuit with his sister Blanche. Wearying
of the cornet (as who wouldn't?), he became a
booking agent, later branching out as the producer
of a series of tabloid musical comedies for vaude-
\ ille. With the money this brought him he financed
a combination night club-review called The Folies
Bergere. It was ten years ahead of its time— another
way of saying that he lost his money. In the hope
of recouping his losses he joined forces with his

BELOW

Lasky and DeMille decided to make The Squaw
Man their first production. They bought the picture
rights from its author, Edwin Royle, and persuaded
Dustin Farnum, a famous star, to act in the film
version. Below are the barn and the outdoor stage
on the first day of shooting on The Squaio Man. De-
Mille, in the light suit and hunting boots, stands be-
tween the two tall cowboys in front of the stage a
little to the right of the barn.

THE SQUAW MAN (1913)

Another view of the Lasky stage. Hollywood's ut-
terly dependable sunshine, for at least eight months
of the year, made it an ideal spot for picture mak-
ing. Artificial lighting was unnecessary, and the open
stages could be left exposed to the weather with no
risk of monkey business by Jupiter Pluvius.

seated in the center. At the left sits Lolita Robertson
and at the right Bessie Barriscale, Lasky 's leading
lady. Standing, left to right, are: Oscar Apfel, direc-
tor; Max Figman, leading man; Charles Richmond,
actor; Wilfred Buckland, art director; Theodore
Roberts, actor; Robert Edeson, actor; Edward
Abeles, actor; and Cecil B. DeMille, principal di-
rector.

BELOW LEFT

After a few weeks of shooting, DeMille and Farnum
shipped the print of The Squaw Man to Lasky and
Goldwyn in New York, and they lost no time in
putting it on the market. Its success set the new
company firmly on its feet financially. Their next
picture, Brewster's Millions, proved a similar gold
mine. Below is the West Coast production staff re-
sponsible for all the early Lasky pictures. Lasky is

BELOW RIGHT

Lasky offered Dustin Farnum several thousand dol-
lars' worth of stock in the new company to star in
The Squaw Man, but Farnum decided to work on a
salary. Had he taken the stock, it would be worth
about a million dollars today. Here is a scene from
the picture. The well-nourished figure at the right is
the star.

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BIRTH AND INFANCY

Mack Sennett started his career as an actor with
Biograph about the same time as Mary Pickford.
Even in those days lie was bombarding Chief Direc-
tor Griffith with ideas for scenarios— his principal one
being that policemen were sure-fire comic material
for pictures. Since his boss emphatically did not see
eye to eye with him, Sennett had to be content act-
ing in comedies with Mary Pickford and directing a
few minor productions. In 1912 he left Biograph :o
form his own unit, which he called the Keystone
Company. Within a year his slapstick comedies were

famous, and by 1914 he had hi^own studios. Here
are some members of the original Keystone troupe
who won their spurs under Sennett. 1,-eft to right:
Thomas Meighan, Mabel Normand, Ford Sterling,
Teddie Sampson, Polly Moran, and Eddie Suther-
land, Meighan's nephew and now a director and
producer in his own right.

BELOW

Another still from The Squaw Man. Whatever squaw
men died of, in those days, it wasn't starvation.

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TESS OF THE D'URBER VILLES (1913)

Another famous vamp of the early 'teens, Lucille
Younge, is here in. the process of having her will of
Charles West. An unfortunate optical illusion sug-
gests that West is stealing Miss Younge's pearls. This
is positively not so. Notice the Hiifdu oboe player
in the back, without whom no scene of Sin was
quite complete. More vamps, later.

BELOW

Another stage star to succumb to the lures of Zukor
and Frohman was the great Minnie Maddern Fiske.
Here is Mrs. Fiske in a scene from the Famous
Players production (1913) of her stage success, Tess
of the D'Urbervilles.

BIRTH AND INFANCY

Mabel Normand was an expert swimmer and diver,
and her combination of athletic ability and pulchri-
tude appealed to Sennett as having possibilities. They
had. Mabel Normand was probably the best-loved
comedienne ever seen on the screen.

ABOVE BIGHT

serial pictures appeared in 1912

The mother of a

and 1913. What Happened to Alary ran on the
screen simultaneously with a monthly episode pub-
lished in The Ladies' World. The star was Mary Ful-

ler, the one with the checked hat in the above still.
Looking down at her with restrained passion is Marc
McDermott. In the background, pretty sore about the
whole thing, is Miriam Nesbit.

BELOW

appeared in his own pictures.

Sennett occasionally

In this scene from Barney Oldfield's Race for a Life
Sennett is at the extreme right. The lady is, of
course, Mabel Normand. The gent with mustache
and sledge hammer is Ford Sterling.

AN ODYSSEY OF THE NORTH (1914)

Mabel was one of the original pie throwers, as is
evidenced by this shot from A Misplaced Foot, made
in 1913. The cross-eyed and slightly blurred victim
is anonymous— which hardly seems fair. If she took
all that punishment she might have expected at least
a screen credit.

ABOVE RIGHT

Pies were not indispensable to Mabel Normand's
brand of comedy. She could take her pie or leave it.
Here she is, leaving it, in a scene with Raymond
Hitchcock, from My Valet.

BELOW

Came the year 1914, in which many things hap-
pened. To begin with an event of something less
than cosmic importance, Hobart Bosworth left Selig,
to produce his own pictures, featuring himself in a
series of Jack London stories. Here he is, in An
Odyssey of the North. The caption for this still reads:
"Naass shows his interest in Unga," Unga being Rhea
Haines. Audiences liked their heroes well fed in those
days. The Gary Cooper-Jimmy Stewart type would
have been acceptable only in Westerns.

BIRTH AND INFANCY

Myrtle Steadman, a former light-opera singer, joined
Bosworth's company after leaving the Whitney Opera
Company. She is depicted here as the wistful daughter
in one of those skinflint-deacon-mortgage dramas, It's
No Laughing Matter, with Maclyn Arbuckle as the
harassed father.

BELOW

A popular team of 1914-15 were Lois Weber and her
husband, Phillips Smalley, who wrote, directed, and

acted in their own pictures. They are shown here in
False Colors. The gentleman whose suit Smalley is
rumpling is Courtenay Foote. Miss Weber became
one of the few really successful women directors,
her most spectacular achievement being Where Are
My Children? ( 1916), an earnest treatise on abortion,
produced by Universal. Like so many other Holly-
wood discussions of the taboo subject of s-blank-x, it
evoked anguished protests from the godly and shekels
from the box office.

A FOOL THERE WAS (1914)

The cycle of vampire pictures went merrily on its
way, greatly abetted by a new producer, William
Fox. Having undertaken to produce a picture sug-
gested by a line of Kipling, "A fool there was," Fox
was prevailed upon by his director, Frank Powell, to
cast an unknown— Theodosia Goodman— as the vamp.
Here she is, in A Fool There Was, with Edward Jose
—but not under that name.

ABOVE RIGHT

Let's face it: who ever heard of a vampire named
Theodosia Goodman? So Theodosia became Theda,
and Goodman was swapped for another family name,

Barranger. The result, Theda Bara, vamped her way
through some forty Fox pictures in the next three
years, establishing a box-office name that was a boon
to exhibitors and an unending source of worry to the
censors. Above, Theda meets an old admirer on the
docks in A Fool There Was.

BELCW

Here is Miss Steadman in Jack London's The Val-
ley of the Moon, as made in 1914. Playing opposite
her is Jack Conway, a young actor who later became
one of M-G-M's ace directors.

BIRTH AND INFANCY

Theda Bara's career reached its climax, in 1917, when
she appeared as Cleopatra. The above shot, showing
her conception of Egypt's siren queen, is out of
chronological order, to he sure, but it is at least ap-
propriate to the subject.

Famous Players put forward their version of the vam-
pire—Alice Dovey, shown here in The Commanding
Officer. The hero, Douglas Gerrard, has created an
appropriate scene of carnage up to now, but seems
undecided what next to do. One can only hope.

THE WRATH OF THE GODS (1914)

Bosworth's production of London's John Barleycorn
intrepidly exposed the evils of strong drink. It re-
ceived the hearty support of the W.C.T.U. The cap-
tion: "I made my first acquaintance with John Bar-
leycorn at the age of five."

ABOVE RIGHT

The serials gained rapid headway. The most suc-
cessful was The Million Dollar Mystery, made by
Thanhouser, featuring Marguerite Snow, Florence
LaBadie, and James Cruze. The story, about a mysteri-
ously missing heiress, was first released as an actual
news item and was headlined throughout the coun-
try. It then ran serially in die Chicago Tribune

as the installments of the picture appeared. The Mil-
lion Dollar Mystery cost about $125,000 to make,
complete, and grossed a million and a half. The
scene above, "The Episode of the Conveniently
Placed Burning Glass"— or something of the sort-
shows Marguerite Snow and Donald Gallaher.

BELOW

Thomas Ince, meanwhile, had abandoned acting and
become a director and producer. One of his most
spectacular productions was The Wrath of the Gods,
which appeared in 1914. It was worthy of compari-
son with the better efforts of Griffith and DeMille,
as this still shows.

BIRTH AND INFANCY

Universal did its share of starting the epidemic of
serials by producing The Trey of }iearts in 1914.
Above is its star, Cleo Madison, with George Larkin.

Tlie Million Dollar Mystery had to have sequels, of
course. One of them was Zadora, concerning which
information is scanty, save that it included the scene
shown above, right-hand-drive cab and all. The gen-
tleman lurking at the right is James Cruze, whose
fame rests more solidly on the fact that he later di-
rected The Covered Wason.

Another recruit to the films' lighter side, Carter De
Haven, long a favorite in vaudeville, made many a
comedy short with his wife Flora for Universal. The
studio shot seen here shows the De Havens being
directed in a Western mellow drama by Walter
Belasco, brother of the immortal David.

SWEDIE ( 1914)

By 1914 the success of the Keystone Comedies had
started a wave of emulation. Essanay introduced a
new comic— a young man who had gone from a
Kansas farm to the circus as an elephant trainer;
thence to New York, where he alternated between fe-

male impersonations and musical-comedy heavies. On
the Essanay lot he met a "bit" girl named Gloria
Swanson and married her. He is shown above, with
Ruth Stonehouse, as a Swedish housemaid in the
Swedie comedy series. His name is Wallace Beery,

BIRTH AND INFANCY

It was in this same year, 1914, that Mack Sennett,
the proud proprietor of his own studio, realized his
life's ambition— to prove that a policeman is good
comedy material. No one who has seen the Keystone
Cops in action on the screen would ever dispute him.
Here they are. At the desk sits Ford Sterling. Fac-
ing him, and reading, for once, from right to left,
are Roscoe (Fatty) Arbuckle, Rube Miller, Hank
Mann, Al St. John, and George Jesky.

A typical Keystone Cop comedy of 1914. Never mind
the name. The girl is Juanita Hanson, with Bobbie
Vernon on her left. At the desk is Ford Sterling,
reputed instigator of the pie-throwing vogue. Legend
has it that one day, when the company was filming
a scene in a bakery, Sterling, finding at hand none
of the customary ammunition— bottles, mallets, and
felt bricks— grabbed a custard pie and hurled it. The
rest is history.

FATTY'S FLIRTATIONS (1914)

Mack Swain was born in Salt Lake City— if you care.
After twenty-two years of stage experience, he joined
forces with Sennett in 1913. A year later he became
a chief of the Keystone Cops, throwing pies, chas-
ing the girls, and acting as a foil for Mabel Normand
and Gloria Swanson.

ABOVE RIGHT

The scepter of Pie-Throwing King fell, however,
from Ford Sterling's hands right into Roscoe (Fatty)
Arbuckle's, who first appeared on the stage as a black-
face monologist, began his movie career as a five-
dollar-a-day extra on the Sennett lot. The Master
promoted him, first, to a Keystone Cop and, later, to

costar with Sterling. Above is a still from Fatty and
the Heiress.

BELOW

Fatty's career ended tragically through a scandal
connected with the death of a girl named Virginia
Rappe. He was-as the police investigation brought
out-one of those present in the San Francisco hotel
where she died; and the headlines did their work. A
suddenly virtuous public demanded the exclusion of
his films from all motion-picture theaters. Below, the
King of Custard emotes in Fatty's Flirtations. The
girl just above him is Mabel Normand.

BIRTH AND INFANCY

When Ford Sterling's contract with Mack Sennett
expired in 1914, the famous comic decided to form
his own producing unit. In his frantic search for a
successor, Sennett finally got on the trail of a young
comedian touring in a vaudeville act called A Night

at an Englisli Music Hall. Though the young man
was loath to leave vaudeville for the precarious field
of the movies, he succumbed to Sennett's offer of the
unbelievable sum of $150 weekly to join the Key-
stone Company. His name— Charles Chaplin.

CAUGHT

Nobody sensed it at the time, but Chaplin is one of
the three authentic geniuses the films have produced.
If anybody suspected it, Mack Sennett did. Here is
Chaplin in one of his first Sennett pictures, Caught
in a Cabaret.

BELOW

Many are the legends about the origin of Charlie's
classic derby hat, baggy pants, oversize shoes, and

cane. One says that he deliberately chose the cos-
tume to symbolize shabby gentility. Another holds
that Chaplin hastily borrowed the costume from
friends for his first day of shooting on the Sennett
lot. In any event, here is the famous ensemble as
exhibited in the 1914 production, Between Showers.
Facing him is Ford Sterling. In the background, at
the left, is Chester Conklin.

BIRTH AND INFANCY

In that same year of grace, Sennett was disturbed
by reports that D. W. Griffith was preparing a film
to be shot on a scale never before attempted (just
how right the reports were, you will see shortly).
Determined not to be outdone, Sennett started work
on a comedy to be equally colossal in its own way.
Marie Dressier had starred in Tillies Nightmare on
Broadway, and it was that play and that star Sennett
chose for his forthcoming screen classic.

Sennett spared no expense in making the picture,
presenting a triple-threat cast— Dressier, Chaplin,
Normand— and taking fourteen weeks to shoot it, in
contrast to his usual procedure of grinding them out
one a week. Tillie's Punctured Romance was a ter-
rific hit. Besides presenting Marie Dressier as a defi-
nite screen personality, the film established Chaplin
as a great comic star.

TILLIE'S PUNCTURED ROMANCE (1914)

In the gay nineties, Huber's Museum, on West
Fourteenth Street, in New York, offered entertain-
ment for man and beast that included a penny
arcade, a vaudeville show, and a museum of horrors,
complete with a dried mermaid. Later, rechristened
Crystal Hall, it became one of Loew's earliest pic-

ture houses, though still retaining the penny arcade
and the vaudeville show. Here it is, as it appeared
in 1914. The feature is an Italian-made film. At the
lower left you may discern an advertisement of the
secondary feature, The Perils of Pauline, which ran,
concurrently with the film, as a newspaper serial.

% Griffith Turns a Page

Nineteen fifteen was a momentous year for motion
pictures, for ;t witnessed the production of a film
that was, and still remains, a masterpiece of cine-
matographic art. David Wark Griffith, like Chaplin,
is certainly one of filmdom's true geniuses. His very
first picture, The Adventures of Dolly, a one-reeler
he directed for Biograph in 1908, revealed a sense of
situation and dramatic logic rare in those days. An
unerring casting director, he introduced many a
future star— including Mary Pickford— during his Bio-
graph days. Griffith is the greatest innovator the
screen has ever known. Such devices as the close-up,
the fade-out, the iris dissolve, back lighting, the soft-

focus close-up, the cut-back, and the last-minute
rescue are accepted so completely as a matter of
course by present-day audiences that it is hard to
imagine a time when they did not exist. Yet every
one of them results from Griffith's experiments and
discoveries from 1908 to 1914. Moreover, he was the
first director consciously to treat the motion picture
as an art form. His pictures have the indefinable
quality of "atmosphere" and are distinguished by
masterful lighting and composition. Had he been a
painter instead of a motion-picture director, he would
have been equally great.

GRIFFITH TURNS A PAGE

The picture was, of course, The Birth of a X at ion.
Opening at Clune's Auditorium in Los Angeles, on
February 8, 1915, it revealed not only exciting en-
tertainment, but also a document of what, today,
would be called social significance. Griffith was born
in Kentucky, January 3, 1875, the son of a Con-
federate colonel, and was inevitably a fervid South-
ern advocate. His picture, a lurid indictment of the
carpetbag era following the War Between the States
(you must not say "Civil War" in pictures), and an
openly sympathetic chronicle of the rise of the Ku
Klux Klan, could not fail to arouse heated contro-
versy. Such liberals as Jane Addams, Charles Eliot,
and Booker T. Washington attacked it because of its
bias and its attempt to belittle the principles and
ideals for which the war had been fought. No previ-
ous picture had ever been so publicized, and millions
flocked to see it. The Birth of a Nation long held
the record for box-office grosses— more than fifteen
million dollars. It is still shown occasionally and,
propaganda or not, is still a great film. Here are its
two stars, Lillian Gish and Henry B. Walthall.

BELOW LEFT

The cast was as brilliant as the direction. Besides
Lillian Gish and Walthall (the Little Colonel), the
cast included: Mae Marsh (the Little Sister), Ralph
Lewis (Austin Stoneman), Elmer Clifton (Stone-
man's son ) , Wallace Reid ( Jeff the Blacksmith ) , and
Raoul Walsh (John Wilkes Booth). This scene
shows Howard Gave, as General Lee, and Donald
Crisp, as General Grant, at Appomattox Courthouse.

BELOW BICHT

One unknown starlet of the picture is visible in the
background of this scene between Walthall and
Gish. He was an extra, playing the part of a sen-
try on guard outside a military hospital. As Miss
Gish left the hospital, he gazed at her with such
admiration, longing, and doglike devotion that the
audience was convulsed. Griffith, always on the alert
for a new find, ordered his assistants to discover
the man's name and address. But it was too late.
The picture finished, he melted into the horde of
Hollvwood extras and was never heard of again.

THE BIRTH OF A NATION (1915)

Griffith, abetted by his extraordinary cameraman,
G. W. Bitzer, achieved a hitherto undreamed-of
realism and excitement in the battle scenes.

It was Griffith, too, who first thoroughly explored
the dramatic possibilities of the panoramic long shot.
Notice the superb composition of this view of Sher-
man's march to the sea.

GRIFFITH TURNS A PAGE

Motion-picture acting was steadily improving in
quality. One contributing factor was Adolph Zukor's
consistent policy of bringing prominent stage actors
to the screen. Pauline Frederick joined famous Play-
ers in 1915, making her screen debut in The Eternal
City, and soon became a popular favorite both here
and abroad. In England her pictures rivaled Mary
Pickford's— no mean feat in those days. She is shown
here in a scene from her greatest success, Zaza.

Meanwhile, Famous Players' pet star, Mary Pickford,
continued serenely on her way. Her looks, charm,
and those curls combined to maintain her as the
screen's best seller. This studio still shows her with
some of the contemporary glamour boys. Just to the
left of her is Donald Crisp, minus General's Grant's
whiskers. Douglas Gerrard stands directly back of
her. The gloomy youth with his arms folded is Mar-
shall Neilan.

ENOCH ARDEN ( 1915)

Under Zukor, the photography of her pictures im-
proved immeasurably. Here is Our Nlary in soft
focus. To understand Mary Pickford's importance to
the motion-picture world, we should note her salary,
and not in soft focus. In January, 1915, her contract
with Famous Players gave her $2000 a week and
half the profits on her productions.

ABOVE RIGHT

Kalem had its particular star in Swedish-born Anna
Q. Nilsson, who came to America for a visit and
worked as a servant and as a model. At the time this
scene was shot, she had been with Kalem four years.

It is from A Sisters Burden, made in 1915. The
woman in black is Alice Hollister.

BELOW

Wallace Reid had tried his hand at various jobs before
drifting into pictures. He attracted little attention
until his performance as the blacksmith in The Birth
of a Nation induced Mutual to sign him up. Before
long, he became one of the most popular male stars
the screen has ever known. Here he is, with Lillian
Gish, in a scene from Enoch Arden, which Christy
Cabanne directed for Mutual in 1915.

GRIFFITH TURNS A PAGE

In 1915 Carl Laemmle (above, center) realized a
long-cherished ambition by opening the new Uni-
versal Studios in self-styled Universal City, about
five miles northwest of Hollywood.

Oliver Morosco, long a prominent theatrical producer,
took a flier in pictures, and with equal success. One
of his gifts to the movies was Charlotte Greenwood,
shown below in Jane, made in 1915. Forrest Stanley
wears the buttoned shoes, and Howard Hickman the
boiled shirt.

CARMEN ( 1915)

Lasky and Goldwyn scored a tremendous beat over
Famous Players when they signed up Geraldine
Farrar, then at the height of her Metropolitan Opera
career. Zukor had put in a bid for her, but Lasky
Features won out by offering her a private train to
and from the Coast, a house in Hollywood, cars,
servants, and $20,000 for eight weeks, during which
three pictures were made. Her first vehicle was Car-
men, with Pedro de Cordoba, shown above, and
Wallace Reid, not shown.

The nation-wide publicity resulting from Miss Far-
rar's entry into the movies was well worth the money
Lasky and Goldwyn spent on her. Carmen, opening
in New York in 1915, was rapturously greeted by
both critics and public. Even the dramatic critics
admitted that there might be something in motion
pictures if they could so successfully convey Farrar's
personality and acting ability. Here is another scene
from Carmen. The man in the center is Horace B.
Carpenter.

PAGE

William Fox, meanwhile, resolved to present his in-
ternational vampire, Theda Bara, in his version of
the Merimee classic. His Carmen opened in Novem-

ber, 1915. The critics agreed that Miss Farrar's pro-
duction, direction, script, and acting were better.
The Bara version got to first base, but never scored,

A TALE OF TWO CITIES (1915)

In 1915 another Hollywood institution, the beauty
contest, reared its ugly head. In the silent days, as a
matter of fact, there was some sense to a beauty
contest. Since she didn't have to speak, any girl with
an exceptionally pretty face and figure had a chance
in pictures. With a director dictating every move,
expression, and gesture, she could produce a reason-
ably plausible imitation of acting. All of which does
not apply to Clara Bow, Corinne Griffith, Claire
Windsor, Mary Philbin, and Gertrude Olmsted, si-

lent stars who entered the movies via the beauty-
contest route. Above, Al Christie (hatless, in the
center ) is about to direct the very first beauty-contest
picture. Note the absence of bathing suits.

BELOW

"It is a far, far better thing . . ." Maurice Costello
goes to the guillotine in Vitagraph's production of A
Tale of Two Cities.

GRIFFITH TURNS A PAGE

Came the time for the renewal of Charlie Chaplin's
contract with Keystone, which had been for one year
only. G. M. Anderson ("Broncho Billy"), acting for
Essanay, offered him $1250 a week. Charlie took it,
and arrived on die Essanay lot in Chicago amid a
hailstorm of publicity. Essanay now had a gold mine
in its triple-threat combination: Francis X. Bushman
(left), heart throbs; Chaplin (center), belly laughs;
and Anderson (right), Western thrills.

BELOW

Mack Sennett, though he had lost his blue-ribbon
comedian, had plenty of others in his stable. This
close-harmony group, for instance, mercifully made
in the silent days, reveals: (left to right) Phyllis
Haver, Jimmie Finlayson, Louise Fazenda, Ben Tur-
pin, Heinie Conklin, and Paddy McQuire, with an
unidentified songster at the end. The choir leader is
Chester Conklin.

KEYSTONE COMEDIES

Mack Sennett's Keystone Cops were funny, but they
lacked sex appeal. So the Old Master hit upon the
idea of teaming his John Laws with a troupe of the
prettiest girls he could find, in the least costumes the
current Mrs. Grundys allowed. Gloria Swanson,
Marie Prevost, Phyllis Haver, and many other subse-
quent stars and starlets got their first exploitation as
members of the Bathing Beauty Brigade. Here is
Charlie Murray with a selected few. Vera Steadman
is directly to his right and Phyllis Haver is on his
left. The picture would be even more exciting if
there were lines attached to those poles.

BELOW

The city limits of Hollywood are less than sixteen
miles from the Pacific; and while the Bathing Beau-
ties were not encouraged to take such a radical step
as actually to go into the water, it was deemed ap-
propriate to photograph them against an ocean back-
ground. Eventually the trip to the beach became a
bore, and Sennett built a swimming pool on the
Keystone lot and shot the pictures there. In this
photo, Mack Swain and Gloria Swanson are about
to be surprised.

GRIFFITH TURNS A PAGE

The girls' costumes were the most daring— believe it
or not— Seen in public up to 1917. Above, Chester
Conklin is in the center or a scene of modified aban-
don. Marie Prevost is on his right.

BELOW

If Chaplin had a successor on the Keystone lot, Ben
Turpin was undoubtedly it. Thanks to a pair of mag-

nificently crossed eyes and an uncanny knack of tak-
ing horrifying falls without killing himself, Turpin
grew to be one of Sennett's most popular zanies.
Misguided oculists urged Ben to undergo a slight
operation that would cure his eyes. Being no fool,
other than professionally, he always refused. He
appears here in The Clever Dummy (1917).

THE CLEVER DUMMY (1917)

The beach at Venice, California, was the favorite
location for shooting the Bathing Beauty pictures.
Here is a scene in the making. The girl in the plaid
skirt is Marie Prevost, with Heinie Conklin seated
beside her. Back of him stands Bert Roach. To the
right of him are Jack Ackroyd, Jim Finlayson, and
Wayland Trask. The recumbent lifeguard is Ben
Turpin. Victor Scheurich is the cameraman.

The Silly Symphonies and other animated cartoons—
to say nothing of Screeno— have pretty well usurped
the place held by the old two-reel slapstick come-
dies. At least, that's what exhibitors will tell you.
Just the same, when die newsreel theaters revive an
old Chaplin or Lloyd roughhouse, the fans stay in
tiieir seats. Here's another giggle-getter of the 1915
vintage, Gail Henry.

GRIFFITH TURNS A PAGE

Gloria Swanson, having served her apprenticeship as
extra and bit player with Essanay in Chicago, went
to Hollywood, where she started up the ladder of
fame and fortune on the rather wobbly rungs of the
Keystone Comedies. Here she is, with Bobbie Ver-
non, in a 1915 Mack Sennett opus.

ABOVE RIGHT

One of the best-remembered serial queens was Ruth
Roland, shown here with Marshall Neilan. You will
see more of her. Neilan, born in Los Angeles, ran
away from home at fourteen and, returning, worked
as a chauffeur. He joined the Kalem Company, and
his acting ability won him leading roles with Ruth
Roland and Mary Pickford. You will hear from him
again, too— as a director.

BELOW

Another sequel of The Million Dollar Mystery was
The Diamond from the Sky. Its scenario, written by
Roy McCardell, won a $10,000 prize contest spon-
sored by the Chicago Tribune. The producers of-
fered Mary Pickford $4000 a week to play the lead,
but her contract with Famous Players prevented her
acceptance. So they compromised by signing up her
sister, Lottie. Opposite her they cast Irving Cum-
mings, today a successful director. William Desmond
Taylor, whom you surely remember as the victim of
a still unsolved murder in 1921, directed the serial.
Here is the company. In the first row, left to right,
are: Charlotte Burton, William Russell, Oral Hum-
phries ( on the floor ) , Eugenie Forde, Desmond Tay-
lor (on the arm of the chair), Charles Watt (sitting
next to Taylor), Lottie Pickford (at the piano), and
Irving Cummings (leaning on the piano).

GETAWAY KATE ( 1915)

And who should turn up in the serials but the late
Texas Guinan, whose "Hello, sucker" and "Give this
little girl a great big hand" made her famous as the
night-club queen of the dry '20's. She is shown here,
having the best of a nasty argument, with Phil Ford
and Kingsley Benedict.

BELOW

Helene Chadwick, before playing leads in feature
pictures, served an apprenticeship in the serials.
Here she is, widi Frank Redman, in Getaway Kate.

GRIFFITH TURNS A PAGE

"Take that, you cad!" In 1915 Jack Holt was playing
serial villains, as witness the above humiliating en-
counter with Francis Ford and Grace Cunard. Had
the picture been made fifteen years later, Jack would
be standing in Ford's place.

BELOW

In 1915 Thomas Ince, Mack Sennett, and David W.

Griffith pooled their resources to produce jointly
Tinder the name of Triangle Pictures. A year later
they acquired land on the ocean front north of Santa
Monica, about fifteen miles from Hollywood, and
there built their studios. The place was known as
Inceville, and it was an ancestor of M-G-M.

INTOLERANCE ( 1916 )

The success of The Birth of a Nation had established
Griffith as the industry's foremost producer— and
had induced millions of people to take the movies
seriously. Griffith now determined to make a picture
that would far outdo his previous masterpieces and
built a production that would give any studio pause
even today. No one knew anything about the new
picture, except that it was employing thousands of
extras and a pretentious cast. The latter included
Tully Marshall, Seena Owen, Sam DeGrasse, Elmer
Clifton, Bessie Love, Joseph Henabery, Ralph Lewis,
Mae Marsh, Robert Harron, Constance Talmadge,
Erich von Stroheim, and Lillian Gish. In the picture
above, Griffidi sits at the left. The girl behind the
cameraman is Dorothy Gish, who probably dropped

in to kibitz.

Cooper is doing the acting.

BELOW

The new picture, released in the fall of 1916, was
Intolerance. Griffith depicted the spirit of intoler-
ance through the ages by means of four parallel sto-
ries: the fall of Babylon, the story of Christ, the
massacre of the Huguenots, and a modern story
about capital and labor. To link the four stories he
used Walt Whitman's lines "Out of the cradle end-
lessly rocking, Uniter of here and hereafter," with
Lillian Gish rocking a symbolic cradle. The set
shown below— the court of Catherine de' Medici— is
a good example of the detailed perfection of back-
ground and costumes. Catherine, played by Josephine
Crowell, stands directly in the center.

GRIFFITH TURNS A PAGE

Intolerance was a brave try, but it never prospered.
The public was confused trying to follow four stories
at once, and the shot of Gish at the cradle only
added to the bewilderment. One of the players in the
Babylonian sequence, Constance Talmadge, shown

above, had been doing extra bits until Griffith gave
her the part of the Mountain Girl. The youth with
the badlv tied shoelaces is Elmer Clifton, of whom
you will hear later as a director.

INTOLERANCE ( 1916 )

The alumni association of Intolerance must include
more than a score of present-day well-known actors,
directors, and other celebrities. Here is Eugene Pal-
lette, for instance, with Margery Wilson in a se-
quence from the French story.

BELOW

For breath-taking magnitude this scene from the fall
of Babylon has never been surpassed. It is hard to
imagine that it ever will be. We see part of Belshaz-

zar's palace and the walls of the city. There were
four thousand persons on the set the day this scene
was shot. Among the dancing girls on tfie steps— if
you could distinguish them— are Pauline Starke,
Alma Rubens, Carmel Myers, Winifred Westover,
and Mildred Harris (Chaplin). To get some idea of
the depth of the set, compare the people in the fore-
ground with those visible through the arch, on the
farthest wall.

GRIFFITH TURNS A PAGE

One of the finest examples of Griffith's genius for
composition and lighting is this scene of the mas-
sacre of the Huguenots. Intolerance, though a fail-
ure, was a magnificent one. It carried screen lech-

nique to a point that not even The Birth of a Nation
had anticipated, and its settings and crowd scenes
have served as the model for every spectacular
picture made since.

OLIVER TWIST ( 1916 )

In 1916 Lasky Feature Pictures merged with Zukor's
Famous Players. Under the name of Paramount Pic-
tures the partners continued the policy of presenting
famous stage stars in screen plays. One of their first
productions was Oliver Twist, with Marie Doro in
the title role. She is shown above, with Tully Mar-
shall as Fagin and Hobart Bosworth, deserting ro-
mantic he-man leads, as Bill Sykes. The man with
the top hat is Raymond Hatton.

Every actress wants to play Juliet, whether on stage
or screen. Beverly Bayne acted the role opposite the
Romeo of her husband, Francis X. Bushman. An-
other Juliet, Theda Bara, shown below, played the
part in a Fox production of 1916. The Romeo is
Harry Hilliard.

GRIFFITH TURNS A PAGE

The most spectacular Fox production of 1916 was
Daughter of the Gods, which exploited the talents
and figure of the swimming champion, Annette Kel-
lerman. The picture was filmed in Jamaica, where
Director Herbert Brenon practically rebuilt one end
of the island, imported a troupe of camels, and re-
stored a Spanish ruin. Word of these goings-on
leaked out to the press, and the director was given
far more publicity than the producer relished. When
Brenon resigned, Fox ordered his name kept off the
screen, whereupon Brenon brought injunction pro-
ceedings. The injunction was denied, Fox relented
and put back the screen credits, the picture made a
lot of money, and everybody was happy.

Fox presented a starlet in the person of Shirley
Mason, sister of a reigning favorite, Viola Dana.
Miss Mason is shown above in a scene from Merely
Mary Ann, in which she appeared in 1916.

Lewis J. Selznick brought another stage star to the
screen in his production of War Brides— Alia Nazi-
mo.va, who repeated her success in the theater. Her-
bert Brenon directed the picture. Not shown in this
scene is a young actor who played his first role in
this film— Richard Barthelmess.

THE DUMB GIRL OF PORTICI (1916)

Oliver Morosco produced An International Marriage,
overflowing with counts, earls, dukes, marquises, and
American heiresses. Above, Courtenay Foote is try-
ing to argue Rita Jolivet into something or other.

ABOVE RIGHT

The newly formed Triangle company was anything
but idle. One of its stars was Douglas Fairbanks,
who had come to pictures in 1915 with an estab-
lished stage reputation in light comedy. He appears

above, with Bessie Love, in a scene from The Good
Bad Man, a Triangle production of 1916.

BELOW

Universal brought the great dancer, Anna Pavlova,
to the screen in its production of The Dumb Girl of
Portici. In this scene she is seated, with Lois Weber
and Douglas Gerrard standing beside her. Phillips
Smalley, behind the camera, and Lois Weber di-
rected the film.

GRIFFITH TURNS A PAGE

A Lasky star of this period was Blanche Sweet,
shown above with Jack Conway. She was a Griffith
find and had attracted widespread attention with her
first leading role, iii Judith of Bethulia.

ABOVE BIGHT

Still another Triangle star was Belle Bennett, shown
here in a scene from The Judgment of the Guilty,
with Jack Livingston.

BELOW

Ruth Stonehouse had been a professional dancer be-
fore signing up with Essanay in i910. For six years
she remained the company's leading ladv. In the
scene below, directed by Jack Conway, she is pro-
tecting a protege from the strong arm of the law
(J. P. Wilde). The young man she is defending
hardly looks like star material, does lie? His name is
John Gilbert.

THE INTRIGUE ( 1916)

Lenore Ulric has been flitting back and forth be-
tween stage and screen since 1912. She appears here
in a scene from a 1916 epic, The Intrigue. The vil-
lain (villains always wear smoking jackets) is How-
ard Davies.

The Westerns continued merrily along. Dustin Far-
num did his bit in, among other things, The Parson
of Panamint. In this scene he appears with Winifred
Kingston ( second from left ) .

GRIFFITH TURNS A PAGE

James Warren Kerrigan was another favorite of the
day. He (the one facing the camera, of course) and
the boys are engaged in a bit of mayhem from The
Silent Battle, a 1916 thriller.

BELOW

The king of all the Western stars, and the one who
stayed longest in public favor, was William S. Hart,
who drifted into pictures about 1914 and became
Thomas Ince's greatest star. Below, he appears witii
Bessie Love in a scene from The Aryan.

THE SILENT BATTLE (1916)

The stagecoach holdup and die chase were sure-fire
and practically obligatory episodes in any proper
Western. Ken Maynard (left) is chasing, or being
chased ( take your choice ) , in The Devil's Saddle
(1927). The pianist is playing the overture to Wil-
liam Tell.

ABOVE RIGHT

The nice thing about Westerns was that they put no
intellectual strain on the audience. You had merely
to look, without bothering to think. Incidentally, the
looking was well worth the trouble, as witness this

still of Fred Thomson on his famous horse, Silver
King.

BELOW

One feature that made the Westerns popular
throughout the world was that American Western
landscapes offered ready-made sets unequaled in any
other country for picturesque grandeur. The shot
above, from The Devil's Saddle, rather dwarfs the
fracas between Ken Maynard and Tom Bay on top
of the butte.

GRIFFITH TURNS A PAGE

According to Jack Hoxie, this is what the well-
dressed cowboy wore— at least if there was a camera
in the neighborhood.

ABOVE RICHT

Came 1917, and with it a new comedian. Harold
Lloyd and Hal Roach struck up a friendship when
they were doing' bits together for Universal and
finally joined forces in an independent shoestring
production, Just Nuts, with Roach as the backer and

Lloyd as the nuts. The picture was so successful that
Lloyd signed with Pathe to do a series of comedies,
in which Bebe Daniels (right) also appeared.

BELOW

Bebe Daniels started in pictures at the age of eight,
playing child roles for Selig, and became Lloyd's
leading ladv at fifteen. Below are Bud Jamison, Bebe,
and Harold on the beach at Venice, California.

LONESOME LUKE (1917)

The Lloyd comedies were known as the Lonesome
Luke series, and established both principals as star
comedians. Judging from the shot above, Miss Dan-
iels did the hard work.

BELOW

Harold Lloyd is the only comedian ever seriously to
rival Chaplin as a box-office attraction. You will

notice that in the preceding stills he wears a mus-
tache strongly reminiscent of the Chaplin foliage. As
a matter of fact, not until he abandoned the mus-
tache and became the earnest youth with the famous
horn-rimmed spectacles did he reach his greatest
popularity. This is one of the first films in which he
appeared with the specs. Bud Jamison is the chef,
and Snub Pollard stands in the doorway.

GRIFFITH TURNS A PAGE

Keystone had featured Chaplin, but had not starred
him. Now, as a star under Essanay, he soon became
world-famous. This is a scene from a two-reeler, The
Immigrant, made for Mutual in 1917. The others
are (left) Henry Bergman, Edna Purviance, and
Eric Campbell.

BELOW

A Los Angeles youngster named Louise Fazenda
played hooky from high school to be an extra in a
Mack Sennett chase sequence. Sennett, so the story
goes, noticed her at once, with the result, as seen
below, that by 1917 she was starring in Triangle-
Keystone comedies.

A SMALL TOWN GIRL (1917)

As long as it's 1917, the year in which Fox made the
picture, how about one more shot of Theda Bara
as Cleopatra?

1IELOW

Another Fox star was June Caprice, seen here in A

Small Town Girl, made in 1917. Movie stars were
young in those days— what with Bebe Daniels, Lila
Lee, and Constance Talmadge leading women at
fourteen, and Miss Caprice a star at fifteen (three
years before this film). An old hag of twenty-five
could hope for little besides character parts.

GRIFFITH TURNS A PAGE

Perhaps the greatest female impersonator in history
was the Emperor Heliogabalus. A close second, how-
ever, was Julian Eltinge, undoubtedly the best of
modern times. Paramount starred him, in 1917, in
The Clever Mrs. Carfax— And, honest, would you
have guessed?

BELOW

Paramount's most ambitious production of the year
was Joan the Woman, Geraldine Farrar's fourth star-
ring vehicle. It represented the best that the produc-
ers had to offer in the way of script, production, and
cast, which included Wallace Reid, Hobart Bos-
worth, and Raymond Hatton. Below is the trial
scene.

JOAN THE WOMAN (1917)

Cecil B. DeMille, who directed Joan the Woman,
had, like Griffith, a fondness for combining the pres-
ent with the past. In his version of the Jeanne d'Arc
story, an English Tommy discovers a rusty sword,
which sets him dreaming of Joan. When he awakes,
the remembrance of her heroism and self-sacrifice
inspires him to lead a daring raid upon the enemy

( these were war years, remember ]
coronation scene from the picture.

Above is the

BELOW

DeMille always had a genius for handling crowds.
The shot below gives a good idea of the elaborate-
ness and realism of his battle scenes.

GRIFFITH TURNS A PAGE

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J. Warren Kerrigan appeared in other than Westerns.
For instance, Universal starred him and Lois Wilson
in good, clean, wholesome pictures, of which the
above is a good sample. Miss Wilson went from
teaching school to acting in pictures. To her sorrow
she was always cast as a goody-goody girl.

ABOVE KIGHT

Rebecca of Sunnybrook Farm, while not written for
her, was obvious starring material for Mary Pickford.
Paramount made it in 1917.

BELOW

Remember "Have you a little fairy in your home?"
and the child's picture that accompanied the fa-
mous Fairy Soap slogan? That was Madge Evans,
who became a child star in the movies and was one
of the few to play leading roles after she grew up.
She appears here in a scene from The Adventures of
Carol, made by World Pictures in 1917. Behind her
are Jack Drumier and Kate Lester.

THE LITTLE AMERICAN (1917)

The war gave the female stars a chance to combine
charm with excitement. A fair sample, The Little
American, starred Our Mary in 1917. In front of her,
either reading a map or his diploma, is Hobart Bos-
worth.

The Pickford curls influenced the coiffures of the
1910's as profoundly as Garbo's long bob was to in-
fluence those of the 1930's. Witness Vivian Martin's
hair-do in Molly Entangled. The young man ignor-
ing her is Harrison Ford.

GRIFFITH TURNS A PAGE

Skinner's Dress Suit, a Saturday Evening Post story
based on the theory that clothes make the man, was
filmed by Essanay in 1917. Bryant Washburn was
the star. He is shown doing something or other to
Virginia Yalli's dress. Whatever it is, Hazel Daly
strongly disapproves.

BELOW

After his contract with Essanay expired, Charlie
Chaplin signed up with Mutual for the Lone Star
series, at the enormous sum of $670,000 for twelve
two-reelers. Here is a scene from one of the best-
remembered of these, Easy Street, made in 1917.

EASY STREET ( 1917)

NOTICE

QAll employes of the Universal
'Jiltii Company who enlist in any
branch of the US. briny or Iky/
daring the present war crisis
will hw their positions hU
for then until mustered out
of service.

(rf.Q&AYis

Vice President &

Ocnml in&nt&r ,

Universal ^ilm %nufcturtn$m

The year 1918, and we were in the war up to the
Hilt. At the doors of Universal, as at the doors of so
many other studios, this sign was posted.

f\ CUT

Standby

the President

In September, 1918, the Red Cross, for its drive in
San Francisco, held a huge armv and navy parade.
Here is Mary Pickford ( below ) leading it.

GRIFFITH TURNS A PAGE

There was, of course, a sudden eruption of war pic-
tures. Paramount released one, Vive la France, that
was no better and no worse than any other propa-
ganda picture. Here is Dorothy Dalton in a scene
from the film, made by Thomas Ince.

ABOVE RIGHT

Griffith, on invitation of the British government,
made a propaganda picture called Hearts of the
World. It was filmed both in England and at the
front in France. In the scene above, the girl is Doro-
thy Gish. The youth at the right is one Noel Coward.

BELOW RIGHT

BELOW LEFT

The Squaw Man had always been high in Cecil B.
DeMille's affections, since the original screen ver-
sion had signalized his entry into pictures. Accord-
ingly, in 1918, he filmed another edition of the old
Western classic, with Katherine MacDonald (left),
Elliott Dexter, and Anne Little. (Look back to page
27.)

It wasn't a question of recruits— the draft had
taken care of that— but of selling Liberty Bonds.
And movie stars were great salesmen. Remember,
this was before the days of the talkies; there were
no public-address systems, no loudspeakers. When
you addressed a crowd, you hollered through a
megaphone. Mary did it (as shown here). So did
Charlie Chaplin. So did Douglas Fairbanks.

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HEARTS OF THE WORLD (1918)

Hearts of the World was laid mainly in a small
French village overrun by the Germans. Prominent
in it were three French children whose mother had
been killed and who, not daring to venture outside
their house, buried her in the cellar. The small boy
at the left is Ben Alexander, a famous child actor of
the time.

ABOVE RIGHT

The Vision of the Loved One was immensely popu-
lar in those days. You could never be sure when her
face might pop out from a blank wall or an open

fire. Bryant Washburn, for instance, shows no exces-
sive signs of amazement at seeing Wanda Hawley
peering out from the theme song of The Gypsy
Trail.

BELOW

Clara Kimball Young was another favorite, her spe-
cialty being wronged wives. Starting with Vitagraph
in 1912, by 1918 she headed her own producing
unit. In this scene from The Better Wife the man is
Nigel Barrie (just back from serving in the BEF).
The boy is Ben Alexander.

GRIFFITH TURNS A PAGE

Through a series of mergers, purchases, and deals,
Adolph Zukor became head of his own producing
company, Paramount-Artcraft Pictures. In taking
over some of Triangle's producers, writers, and ac-
tors, he acquired Ince, Griffith, Sennett, Anita Loos,
and Douglas Fairbanks. Another of his acquisitions
was the one-time extra, Gloria Swanson, whom he
made a leading lady in a series of domestic dramas.
One of the most successful was Don't Change Your
Husband, directed by Cecil B. DeMille, in which
Miss Swanson appears above, with Lew Cody. Cody
came to pictures from the stage in 1915, starting as

a villain and ending as the love interest in light
comedy.

BELOW

On the stage, "matinee idol" usually means a man.
It's different with pictures. Take, for instance, this
scene, from The Gray Cliiffon Veil. The man, Har-
rison Ford, was one of the most popular leading
men of his day. But the schoolgirls of that day went
just as mad over Constance Talmadge, who is with
him. They flocked to all her pictures and copied her
clothes, hats, and hair-dos.

DON'T CHANGE YOUR HUSBAND (1918)

Sessue Hayakawa became the only Oriental actor
ever to play romantic leads in American pictures.
Because of racial prejudices, however, he always
had to relinquish the girl in the final reel. He is
seen here with Guy Oliver in Hidden Pearls.

BELOW

Quite a different type was Tom Mix, who was just
hitting his stride as a popular hero when this pic-
ture, Western Blood, was made in 1918. The girl is
Victoria Forde.

GRIFFITH TURNS A PAGE

Mary Pickford's contract with Famous Players ex-
pired in 1918, and between Liberty Loan drives she
seized the opportunity to become her own producer.
She made three pictures, releasing them through
First National. One of them was the famous Daddy
Long Legs; another, in which she appears here with
Ralph Lewis, was The Hoodlum (1919).

BELOW

Intolerance, despite its importance in retrospect, had
been a costly failure for Griffith, and he was now

forced to consider expenses in making a picture.
His production of Broken Blossoms, in 1919, proved
that a Griffith picture did not have to be a spectacle
to be a success. Founded on Thomas Burke's short
story, "The Chink and the Child," the film was one
of Griffith's most profitable, considering its compara-
tively moderate cost. Sentimental as it would seem
now, Broken Blossoms was a pioneer work, for it
successfully handled a theme considered sordid and
depressing. It served also to heighten Lillian Gish's
reputation as a screen personality. She appears here
in a scene with Donald Crisp.

BROKEN BLOSSOMS (1919)

Richard Barthelmess had been in pictures for three
years, but it was his sensitive and touching perform-
ance as the young Chinese who befriends the little
slum girl, in Broken Blossoms, that set him on the
road to a brilliant career.

BELOW

Gloria Swanson, having been graduated cum laude

from the ranks of the Sennett Bathing Beauties, was
starred by Paramount in a screen version of Sir
James M. Barrie's The Admirable Crichton. Director
Cecil B. DeMille changed the title to Male and
Female, with the explanation, so the story goes, that
the original name might have led the average
moviegoer to think that he was going to see a navy
picture!

GRIFFITH TURNS A PAGE

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Another scene from A/«/e «nc/ Female, with Lila Lee
and Thomas Meighan on the ends and Gloria Swan-
son very much in the middle.

BELOW

Bessie Barriscale, who had begun her career as a
child actress, attracted such widespread attention by

her performance in The Bird of Paradise that she
went to Hollywood in 1914 to join the Lasky Com-
pany. In 1919 she formed her own producing unit,
B.B. Features, and made several pictures, including
an adaptation of Kathleen Norris' Josselyn's Wife. In
this scene from it the man is George Hackathorne,
and the boy is the inevitable Ben Alexander.

BLIND HUSBANDS (1919)

Of the three Talmadge sisters— Norma, Constance,
and Natalie— Norma was the most consistently suc-
cessful. She obtained her first dramatic experience
in posing for illustrated song slides and then went
to Vitagraph, where she played small parts in sev-
eral Maurice Costello pictures. In one of these, A
Tale of Two Cities, she attracted the public's atten-
tion. Within four years she was a star. Here she is
playing a scene, with Stuart Holmes, from The New
Moon, made in 1919.

BELOW

Not so long ago a certain highly touted New York
stage director was called to Hollywood, where he
made a colossal picture that was an equally colossal
failure. Did it ruin him? Far from it. As one Holly-
woodian remarked, "Now he's one of the biggest

men in the industry. He's just cost his company a
million dollars." The fantastic assumption that the
director who spends the most money must be the
best is probably based on the career of Erich von
Stroheim, whose autocratic methods, ruinous pro-
duction costs, millions of feet of extraneous shots,
and genuine acting and directorial ability combined
to make him a famous screen villain and producer.
Von Stroheim came to America in 1909, eked out a
precarious existence as a salesman, gardener, dish-
washer, and so on, and then played extra bits in the
movies. In 1919, he induced Universal to let him
produce Blind Husbands, which he had written and
then proceeded to direct and act. The picture was a
success and established his reputation. This scene
shows (left to right): Gibson Gowland, Francelia
Billington, Sam DeGrasse, and von Stroheim.

GRIFFITH TURNS A PAGE

The Miracle Man, directed by George Tucker for
Paramount in 1919, made stars of its three princi-
pals: Lon Chaney (extreme left), Betty Compson
(in the dark coat), and Thomas Meighan (thud
from right).

here shows Alice

BELOW

The simple ceremony going on
Lake as the bride and Herbert Rawlinson as the not-
too-avid groom. Judging from his mustache, Ray
Hanford (second from left) is playing Papa.

LOMBARDI, LTD. ( 1919)

Today Bert Lytell is a well-known actor of middle-
aged roles. Twenty years ago he was playing roman-
tic leads. He made his first appearance in The Lone
Wolf, a Brenon-Selznick production of 1917. Two
years later he joined the Metro Company, which
featured him in a film version of the popular Lom-
bardi, Ltd. Those slips looked pretty daring in 1919.

BELOW

Paramount made a picture called The Goat, in 1919,
starring Fred Stone. He is not included in the scene
shown here, but a young extra, dreaming over his
ice-cream cone, is. He entered pictures as Ramon
Samaniegos, of Durango, Mexico, and was destined
to emerge romantically, later, as Ramon Novarro.

GRIFFITH TURNS A PAGE

Early in 1919 Mary Pickford, after having been suc-
cessful as her own producer, joined forces with
Douglas Fairbanks, Charles Chaplin, and David
Griffith to form the famous foursome known as
United Artists. Each of the quartet was his own

producer, with entire control of casting, directing,
and financing. United Artists is a pretty imposing
title, but judging from this shot of three of the Big
Four, Charlie, Mary, and Doug didn't take their
■aesthetic responsibilities too, too seriously.

POLLYANNA ( 1920)

Miss Pickford's first United Artists picture, Polly-
anna, directed by Paul Powell, appeared in 1920,
and its success vindicated her judgment. In the
scene above, Helen Jerome Eddy stands at the fire-
place (extreme left), Doc Crane is in the center,
and Herbert Prior is second from right.

BELOW

Next to Mary Pickford, the most diminutive star on
the screen was tiny Marguerite Clark, who came to
pictures from the stage. Here she is, in Widow by
Proxy, made in 1919.

GRIFFITH TURNS A PAGE

Miss Clark proved as popular on the screen as she
had been on the stage and, had she continued her
career, might have been a formidable rival to Mary
Pickford. However, she retired in 1920 to become
the wife of an army officer. One of her last pictures
was A Girl 'Named Mary. The woman to her left, in
the scene above, is Kathlyn Williams, star of a fa-
mous Selig serial, The Adventures of Kathlyn.

BELOW

Probably the first horror picture— and certainly the

first important one— was an importation, The Cabinet
of Dr. Caligari, an adaptation of Robert Wiene's
story, produced by Decla-Bioscop in Germany, in
1919. Using distorted scenery, bizarre costumes, and
unusual camera angles— to say nothing of superb
direction— it achieved a sustained atmosphere of ter-
ror that few pictures have ever equaled. Traces of
Caligari are to be found in all subsequent horror
films, both American and European, as well as in
serious "atmospheric" pictures, such as The Informer
and Citizen Kane. Hence its inclusion here.

THE CABINET OF DR. CALIGARI (1919)

But mere mechanics were not all of Caligari. The
film achieved its full impact hv reason of fine acting
by Werner Krauss as Dr. Caligari, Lil Dagover as
the girl, and Conrad Veidt as the Somnambulist.

Despite the passing of twentv-odd years since its
first showing, Caligari was, and remains, a master-
piece of its kind.

3. The Twenties

Beginning in 1913, with What Happened to Mary,
the serial film, a story told in weekly or biweekly
installments, occupied a steadily increasing part of
the public's affections. The opening of the second
decade of the century saw this now-unimportant
type of film apparently destined for immortality. The

unquestioned Queen of die Serials was Pearl White,
whose Perils of Pauline brought her fame and,
eventually, a villa in France. She is having a nasty
bout with quicksand in this episode— one of the
tamer ones of the series.

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THE TWENTIES

The gentleman about to end it all is George B.
Seitz, who directed some of the Pearl White serials
when he wasn't acting in them. Directing serials,
with their constant demand for action and more
action, was an exacting task, but a wonderful train-
ing school. Seitz is now one of M-G-M's star direc-
tors, with— among others— the Andy Hardy series to
his credit. The man at the left is Walter McGrail, a
famous 1920 villain. Next comes, of course, Miss
White, with Wallace McCutcheon entering through
the window.

BELOW

Warner Oland, born in Sweden, became, by a twist
of Hollywood fate, a specialist in Oriental roles.
Long before he plaved the benignant Charlie Chan,
he was the principal menace in many a Pearl White
opus. Here he is about to do something pretty sinis-
ter to a lamp, oblivious to Miss White's rather pe-
culiar choice of nook to rest in.

THE PERILS OF PAULINE (1920

Oland and White again. Here he seems to be in
trouble of his own, with Miss White being hauled
out of the trapdoor.

BELOW

Here the situation seems reversed. Pearl apparently
thinks she has Oland where she wants him, but
unless that spare pair of hands belongs to her— which
doesn't seem likelv— she is due for a shock.

100

THE TWENTIES

It must have taken a good deal of faith in Miss Never a dull moment. Warren William is now a

White's luck to sit through a situation like this and prominent leading man, but in those days he spent

believe she was going to get out of it. his time coasting down millraces with Pearl White.

PLUNDER ( 1923 )

101

The previous shot was from Plunder, made in 1923.
Here's another scene from the same picture, which
gives you a rough idea of what a girl had to go
through to make a fortune.

"To be continued next week." The idea was to end
every installment with a situation so hopeless that
wild horses couldn't have kept you from the theater
the next week, to see how she got out of it.

102

THE TWENTIES

Another famous serial star, Ruth Roland, started in
the theater at the age of four and arrived in the
movies via Morosco and Belasco road companies.
She appears here in Episode 3 of Ruth of the
Rockies. The director of the series was George
Marshall.

BELOW

Chaplin was the only member of the Big Four who
made no productions for United Artists in 1920.
In that year, Mary Pickford made Polhjanna, took
time off to marry Douglas Fairbanks, and produced
Suds. Here she is, with Harold Goodwin, in Suds.

THE MARK OF ZORRO (1920)

103

Douglas Fairbanks made two pictures that year.
The first, The Mollycoddle, directed by Victor Flem-
ing, gave him one of the breezy, go-getting roles
that had established him as a stage comedian.

The second proved to be the first of the series of
picaresque costume pictures with which his name
was associated for the rest of his career. This is The
Mark of Zorro. The girl is Marguerite De La Motte.

104

THE TWENTIES

In Mamaroneck, New York, on the shores of Long
Island Sound, Griffith had built a replica of a New
England farm. Here and in upper New York State
he filmed one of the most famous tear-jerkers of all
time, Way Down East. The story was sure-fire and
exactly fitted the talents of his two stars, Lillian
Gish and Richard Barthelmess. In the scene above,
the stem head of the home orders the erring woman,
Lillian Gish, out into the cold. Lowell Sherman,
third from left, is the villain, and Richard Barthel-
mess, at the end of the table, is tire hero who will

rescue her. In back of the flowers is Mary Hay (who
became Mrs. Barthelmess) and next to her, with
glasses, Creighton Hale.

BELOW

In 1920, Cecil B. DeMille directed a star cast in
Feet of Clay. In this scene, Ricardo Cortez sits at
the left. In the deck chair is Rod La Rocque, with
Julia Faye just behind him. To the right of her is
Robert Edeson, with William Boyd next to him.
Between them, eying the captain with apprehen-
sion, is Vera Reynolds.

FEET OF CLAY (1920 )

105

Conrad Nagel began acting with a stock company in
Des Moines and progressed to New York and road-
company productions. He quit to join the navy in
1918 and served on the U.S.S. Seattle. After the
armistice he appeared in several plays and pictures,
winning a long-term contract with Famous Players-
Lasky for his performance in The Fighting Chance.
In the scene above, Anna Q. Nilsson is with him.

ABOVE RIGHT

Another Paramount star was Mae Murray. Born
Marie Adrienne Koenig, she started in the chorus,

where her dancing ability and beautv made her a
featured dancer in The Ziegfeld Follies. Her danc-
ing introduced her to Hollywood and her future
husband, Robert Z. Leonard, the director. This scene
is from Idols of Clay, made in 1920, in which David
Powell played opposite her.

BELOW

Another scene from Feet of Clay, with Lillian Leigh-
ton (left), Vera Reynolds (in the undies), and
Lucien Littlefield.

106

THE TWENTIES

Mary Miles Mintcr's stage performance in The Lit-
tlest Rebel established her as a famous child star.
While still under twenty, she signed a contract with
Realart to make twenty pictures in three years, for
something over a million dollars. She appears above
in a Realart film of 1920, Jenny Be Good.

Since Gloria Swanson had starred in Don't Change
Your Husband, produced by Zukor in 1919, it was
inevitable that she should also star in Wliy Cliange
Your Wife?, directed by DeMille for Famous Players-
Lasky in 1920. With her in this shot is Bebe Daniels
(left), promoted from Harold Lloyd comedies.

HUMORESQUE ( 1920 )

107

One of the best pictures of 1920 was Humoresque,
adapted from Fanny Hurst's famous story of the little
Jewish boy who became a great violinist. Hearst's
Cosmopolitan Pictures released it through Para-
mount. Vera Gordon, shown here, gave a striking
performance as the boy's mother.

Lon Chaney followed The Miracle Man with an
equally successful performance as another cripple in
The Penalty. Born of deaf-mute parents, Chaney
attributed his gift for pantomime to his struggles to
communicate with them. Whatever the cause, he
was soon recognized as one of the finest actors on
the silent screen and a master of make-up.

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108

THE TWENTIES

{Catherine MacDonald had a large and fascinated
public, who followed her in a series of modern-
sophisticate roles in provocatively named dramas
such as The Woman Thou Gavest Me, The Beauty
Market, and Passion's Playground. Here she is, with
Nigel Barrie (you saw him with Clara Kimball
Young in The Better Wife), in a 1920 production,
The Notorious Miss Lisle.

BELOW

Elsie Janis began entertaining at an early age and
became famous as a mimic and singing and dancing
stage star. Her entertainment tours of France during
the First World War won her the title of "The
Sweetheart of the AEF." Here she is, with Owen
Moore, in a picture made in 1920.

JES' CALL ME JIM (1920)

109

Charles Ray had been with Thomas Ince since 1909,
and within ten years his portrayals of likable young
bumpkins and the average fumbling young man
made him a popular star. Here he is in An Old
Fashioned Boy, made in 1920. The other man is
Wade Boteler.

BELOW

Will Rogers began his stage career doing a straight

rope-throwing act in The Ziegfeld Follies. The wise-
cracks that made him famous were an afterthought,
thrown in to add variety to a turn that wasn't doing
very well. His first important film roles were of the
Honest John homespun variety, such as the one he
plays with Irene Rich, in Jes' Call Me Jim, made in
1920. Not until the talkies arrived, to exploit his
drawl and comic delivery, did he rise to his great-
est fame.

110

THE TWENTIES

The much-loved Will Rogers came by his screen
career honestly, for he served part of his appren-
ticeship in the school that also graduated Lupe
Velez, Jean Harlow, and Janet Gaynor— the Hal
Roach Studios. Here he is in a Roach comedy.

ABOVE RIGHT

Dustin Famum's brother, William, had had a no
less distinguished career as an actor, beginning with
spear carrying for Booth and Barrett. His first pic-
ture was The Spoilers, which he followed with a
series of Westerns for Selig. Fox offered him $1000
a week and at the height of his career paid him ten
times that sum. One of his most successful vehicles
was If I Were King, released by Fox in 1920.

BELOW LEFT

Another Fox production of 1920 was Over the Hill,

a picture version of Will Carleton's lachrymose Over
the Hill to the Poorhouse, advertised, somewhat dif-
fidently, by the Fox press department as "the great-
est human drama of all time." Mary Carr and Johnny
Walker are here helping to make it so.

BELOW RIGHT

They say that press agents make stars. They can
help, but they can't do the job unaided. Some press
agent decided that the way to make Patty Dupont
a star was to call her, simply, "Miss Dupont." This,
he argued, would envelop her personality in a veil
of mystery and intrigue, and the public would flock
to see her. The public may have been mystified, but
it refused to flock.

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THE KID ( 1920)

111

In 1920, Chaplin made one of his greatest pic-
tures, The Kid, a tale of a derelict who becomes the
inadvertent foster parent of a small boy. The picture
introduced a child star who was as great a box-
office attraction as Shirley Temple would be fifteen
years later— Jackie Coogan. It is a tribute to his
genius that Chaplin was able to hold his own against
such a born scene stealer as Jackie.

ABOVE RIGHT

In 1921, the other members of United Artists all
made productions. Griffith offered Dream Street, re-
verting somewhat to the moralistic tone of Intoler-

ance, for the picture dealt with two brothers who
listen alternately to the voices of good and evil.
Evil was symbolized by a masked violinist. Ralph
Graves and Carol Dempster, shown above, were
two of the principals.

BELOW

Douglas Fairbanks, inspired by the success of The
Mark of Zorro, produced a film version of Dumas'
The Three Musketeers that was lavish alike in set-
tings, costumes, and casting. This scene shows Fair-
banks as d'Artagnan, Leon Barry as Athos, George
Siegman as Porthos, and Eugene Pallette as Aramis.

112

THE TWENTIES

The three principal female roles— those of the lovely
women of Louis XIII's court— were admirably cast.
Barbara La Marr, shown here in a tense scene with
the star, was the Milady. Miss La Marr entered pic-
tures after a career as dancer and musical-comedy
actress. Her performance in The Three Musketeers
started her on a course that included leads in The
Prisoner of Zenda, The Eternal City, and Trifling

Women. Her untimely death in 1926 cut short her
successful career.

BELOW

The second role, that of Constance, was played by
the distractingly pretty Marguerite De La Motte.
She was one of Fairbanks' discoveries, also coming
to pictures via the dancing route.

THE THREE MUSKETEERS (1921)

113

The classic features and natural dignity of Mary
MacLaren fitted her perfectly for the role of Queen
Anne. She is shown here, thanking d'Artagnan for
the return of her jewels, stolen by Milady. Her act-
ing ability won her a secure place in pictures, but
she never attained the prominence of her sister,
Katherine MacDonald.

BELOW

Mary Pickford's offering for 1921 was a highly suc-
cessful version of Little Lord Fauntleroy, in which
she played the dual role of Cedric Errol and Dear-
est, his mother. The scene below shows her ( him )
with her (his) grandfather, played by Claude Gil-
lingwater.

114

THE TWENTIES

Harold Lloyd scored another big hit, with A Sailor-
Made Man. In this scene, the girl with Lloyd is
Mildred Davis, who became Mrs. Lloyd two years
later.

BELOW

Fatty Arbuckle contracted with Joseph Schenck to

produce a series of two-reel comedies written and
directed by the comedian, and in which he starred.
These pictures were released through Paramount.
Below, a scene from The Dollar a Year Man, one of
Arbuckle's last pictures before the tragedy that
ended his career.

CAMILLE ( 1921 )

115

Alia Nazimova had been in pictures since 1916,
when Selznick introduced her in War Brides. While
the theater was the only existing medium then for
exploiting her extraordinarily beautiful voice, never-
theless her compelling personality and eloquent pan-
tomime made her unusually effective in pictures. She
appears here in the death scene from Camille, made
in 1921. The couple at the right are Patsy Ruth Mil-
ler and Rex Cherryman.

BELOW

Harry Myers, as the Yankee, here astonishes the
natives with his newly made Model T in A Con-
necticut Yankee in King Arthur's Court, which Em-
mett J. Flynn directed for Fox in 1921. Notice the
license plate, bearing the year of its manufacture
(a.d. 528) and its serial number.

116

THE TWENTIES

In 1921 Richard Barthelmess left the Griffith lot to
work for First National. They put him in an adapta-
tion of Joseph Hergesheimer's Tol'able David, which
turned out to be one of the best pictures of the
vear and, in the opinion of some, the best picture
Barthelmess ever made.

But the picture that really made the year 1921 mem-
orable to millions of movie fans was The Four
Horsemen of the Apocalypse. Richard Rowland,
president of Metro Pictures, conceived the idea of

turning Blasco Ibanez' best-selling novel into a pic-
ture. Against the advice of virtually the entire staff,
who argued that the public didn't want war pic-
tures, he bought the rights to the book and engaged
June Mathis to adapt it. She turned out a script that
was a masterpiece of its kind. On her advice, Row-
land engaged a little-known director, Rex Ingram,
and an even less-known actor, Rudolph Valentino,
to star in it. The rest everyone knows. The public
may or may not have wanted war pictures, but they
certainly wanted Valentino. Below are Valentino and
Alice Terrv in a scene from the film.

THE FOUR HORSEMEN (1921)

117

Valentino, born and educated in Italy, came to
America in 1913. Working at whatever odd jobs he
could find, he finally became a dancer in vaudeville
and cabarets. In 1918 he reached Hollywood, where
he got a chance to play extra parts and, eventually,
minor leads. Miss Mathis' selection of him to play
Julio in The Four Horsemen was a stroke of casting

genius. He was Julio, to an extent that even Ibanez
could hardly have foreseen. In all three phases of
the character— the dashing young Argentine horse-
man, the tango-tea habitue, and the mature patriot
—his colorful personality, grace, and forcefulness
were irresistible.

THE TWENTIES

The picture earned Metro a fortune and made June
Mathis, Valentino, and Ingram famous. Ingram had
studied sculpture at the Yale School of Fine Arts,
acted a bit in Vitagraph and Edison pictures, served
in the war, and directed a few minor pictures for
Universal. The Four Horsemen offered free rein to
his instinct for mood, pace, and pictorial effective-
ness, with the result that he turned out a picture
that still sets a standard. The scene above shows
Alice Terry (who married Ingram in 1922) and
Valentino, both in riding habits; Stuart Holmes,
Alan Hale, and Joseph Swickard to the right of the
star. The man behind Valentino, wearing a black
beard, is Jean Hersholt.

BELOW

Metro was not slow to cash in on its new find.
Within the year, Valentino was on the screen again
in an adaptation of another best seller, The Sheik.
Concerning the literary merits of this effusion, it is
kindest to be silent. Nevertheless, it gave the Ameri-
can moviegoer— particularly the flapper, spinster, and
housewife— what she yearned for: romance, terror,
mystery, the spell of the tropics, the lure of the des-
ert, and the perfect lover. There was no doubt of
Valentino's draw, now. No other screen actor, before
or since, ever had the peculiar intensity of adoration
that he had from his fans. Agnes Ayres, seen with
him here, was an object of bitter envy to a vast
body of women.

NICE PEOPLE ( 1922

119

Not that Valentino was ever without rivals. Wallace
Reid, for example, was long one of the idols of the
silents. Here he is (left), with Bebe Daniels and
Conrad Nagel, in. Nice People, which William De-
Mille directed for Paramount in 1922.

BELOW

Another Reid vehicle of 1922 was The Dictator,
directed by James Cruze. In case you hadn't guessed,
he is the figure on the left of this ruckus.

THE TWENTIES

Clarence, an adaptation of the Booth Tarkington
play, directed by William DeMille, was Reid's great-
est success of the year. Agnes Ayres (left) played
the governess, and May McAvoy was Cora, the flap-
per.

BELOW

Mary Pickford's newest was Tess of the Storm Coun-
try, an old stock-company favorite that gave Our
Mary a golden opportunity to be sweet, wholesome,
and optimistic.

THE IMPOSSIBLE MRS. BELLEW (1922)

121

As Lady Babbie in The Little Minister, Betty Comp-
son scored a success that justified Paramount's mak-
ing her a star after The Miracle Man. She was perfect
as the titled young woman who preferred gadding
about with gypsies to drinking tea in a castle.

Another of Betty Compson's pictures that year was
To Have and to Hold, costarring Bert Lytell with
her. The contrasting scenes, some at the court of
James II, some in the Jamestown colony, together
with Indian fights and pirate skirmishes, gave Direc-
tor George Fitzmaurice an opportunity to show what
he could do

BELOW

Doug Fairbanks' going to United Artists left a gap
in the Paramount ranks that was filled by Thomas
Meighan, whose star ascended steadily after The
Miracle Man. Here he is in a scene from If You Be-
lieve It, It's So, a crook comedy drama of 1922 in
which Pauline Starke played opposite him.

BELOW

Gloria Swanson— with no trace of Mack Sennett left
by now— had The Impossible Mrs. Bellew, a gaudy
vehicle that enabled her to wear exotic clothes and
consort with dukes and millionaires at a French
watering place. Conrad Nagel, taking the whole
thing very much to heart, is on the right.

122

THE TWENTIES

Remember that young extra in The Goat, back in
1919? Time passed, and by 1922 Ramon Samanie-
gos, the extra, had become Ramon Novarro, the
clashing young figure of Metro's The Prisoner of
Zenda. Rex Ingram directed, with a skill and confi-
dence born of his triumph with The Four Horse-
men. Novarro is on the left, with Stuart Holmes on

the right. The girl is Barbara La Marr. That costume
is a hobble skirt.

BELOW

Griffith had a not-too-prosperous year. His One Excit-
ing Night, a mystery melodrama, fared mildly well.
Audiences seemed to be growing tired of the help-
less bit of innocent femininity who aroused the beast
in men. Here is winsome Carol Dempster arousing.

ORPHANS OF THE STORM (1922)

123

Despite Broken Blossoms and Way Doun East, Grif-
fith's productions as a whole had not been too profit-
able since The Birth of a Nation. With the idea of
recouping his losses with an elaborate best seller, he
produced Orphans of the Storm, a screen version of
The Two Orphans. The Gish sisters, Lillian and
Dorothy, played the title roles.

BELOW

The cast of Orphans of the Storm was good, and
the production— as the guillotine scene below illus-
trates—was colorful and elaborate, but something
was wrong. The picture was not a great success. The
man in the straw hat on the scaffold in this produc-
tion shot is Griffith.

124

THE TWENTIES

None of Nazimova's pictures ever made a gTeat deal
of money. The public that means box office was not
vet trained to subtle acting and adult stories. Never-
theless, the general quality of her productions was
50 high that studios were glad to produce them as

prestige pictures. In 1922 she gave a striking per-
formance as Nora in Ibsen's A Doll's House, under
the direction of her husband, Charles Bryant. Tins
film was released by United Artists,

BLOOD AND SAND (1922)

125

Meanwhile Valentino scored fresh triumphs in an
adaptation of another Ibaiiez novel, Blood and Sand.
Again June Mathis wrote the script, but Fred Niblo
directed. Nita Naldi, shown here with Valentino,
played the titled Dona Sol who flatters and seduces
the great matador when he is successful and leaves
him as soon as his future looks precarious.

The story of Blood and Sand concerns a great Span-
ish bullfighter who is killed in the arena because he
overestimates his skill. Lila Lee, below, played his
faithful wife. The scene shown is the closing one,
in which the dying matador hears the applause for
the new popular favorite who has replaced him. She
tells him that the applause is for him, and he dies,
believing her.

126

THE TWENTIES

Acting on the principle that there's nothing like
warming over a good title, Erich von Stroheim fol-
lowed his 1919 money-maker, Blind Husbands, with
Foolish Wives. As before, he wrote and directed it,
besides starring in it, for Universal. The public liked
it. In the scene above, he is having trouble with
Dale Fuller.

BELOW

Dorothy Dalton is said to have revolutionized the

vampire. Dorothv was a vamp, but there was noth-
ing exotic about her. Just a good, wholesome, bad,
home girl, you might say. Whatever the reason, the
wickeder she got, the better the audience liked her.
She began her stage career in stock and vaudeville
and then went to California, where she played in a
wide variety of pictures for Ince. After a while, she
dropped the vamping altogether, to become a West-
ern two-gun heroine. In this capacity she appears in
The Crimson Cliallenge, made in 1922.

FOOLISH WIVES ( 1922)

127

Mention has been made of von Stroheim's lordly
disregard of expense in his productions. Here is
Exhibit A, the Monte Carlo set he used in Foolish
Wives. It cost $200,000.

BELOW

John Gilbert played his first roles where so many

others did, at the Ince Studios. From Ince he went
to Fox, where he was soon recognized as a coming
young leading man. In 1922 Fox entrusted him with
the lead in a new Monte Cristo, directed by Emmett
J. Flynn. Though a success, he had yet to attain
great popularity.

128

THE TWENTIES

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Ethel Clayton came to pictures with a solid stage
reputation. In the movie versions of The Lion and
the Mouse and The Great Divide, she established
herself as one of the best emotional actresses on the
screen. She appears here, with Theodore Roberts,
in Exit the Vamp, made for Paramount in 1922.

The first feature-length, all-color picture to be pro-
duced was The Glorious Adventure, filmed by the

Prizma process. J. Stuart Blackton shot it in Eng-
land, as a starring vehicle for Lady Diana Manners
(of The Miracle), the scene being laid in the
time of Charles II and the Great Fire of London.
Lady Diana's name, and the publicity attendant
upon its making, gave it some success in England,
but American audiences received it with little enthu-
siasm. Its chief importance lies in the fact that it
was the first of its kind and that it was one of Vic-
tor McLaglen's first films.

LORNA DOONE ( 1922 )

129

The romantic costume picture rolled merrily on its
way. John Bowers (kneeling) and Madge Bellamy
(on the step beside him) were featured in an
adaptation of Blackmore's Lorna Doone, directed by
Maurice Tourneur.

BELOW

In the spring of 1922 it was obvious that tilings were

going on at the Pickford-Fairbanks lot on Santa
Monica Boulevard. Hollywood had seen some colos-
sal sets going up, but this was bigger, even, than
Intolerance. An enormous medieval castle gradually
took shape, grim with age, vine-covered, and com-
plete with moat and drawbridge.

130

THE TWENTIES

What it was, of course, was the main set for Douglas
Fairbanks' version of the tale of Robin Hood, the
outlaw of Sherwood Forest, and his merry men. Not
trusting too much to the settings, magnificent though
they were, Fairbanks made Robin Hood a stirring
tale of adventure and chivalry.

BELOW

Allan Dwan directed the picture, whose main story
was projected against a background of the Crusades

and the struggle for power between Prince John
and Richard the Lion-Hearted. One of the best
performances was Wallace Reery's portrayal of Rich-
ard. It was a conception too rough and forthright
for some admirers of the great Plantagenet— and was
probably the more correct. Up to that time, Reery
had generally played villains. From Robin Hood on,
his roles tended more and more to the sympathetic
and humorous variety. Here he is, behind Fairbanks.

ROBIN HOOD ( 1922 )

131

Some idea of the enormous proportions of the sets
may be gained from this scene inside the castle,

where Robin Hood manages to; escape from the
archers of Prince John.

132

THE TWENTIES

Maid Marian, Robin's lady fair, was played by Enid
Bennett. She became the wife of Fred Niblo, the
director, and later retired from the screen.

ABOVE RIGHT

Constance Binney made her stage debut as a dancer
in Broadway musicals. Then the films beckoned, and
she played opposite John Barrymore in The Test of
Honor. She attained her greatest success in A Bill
of Divorcement, made in England. Here she is in
Tlie Sleepwalker, a Realart production of 1922.

BELOW

In 1923 another picture star tried becoming his own
producer. Charles Ray, sick of the monotonous coun-
try-boy characterizations that had brought him such
success and money, left the Ince Studios and sank
a huge amount of money in a production of The
Courtship of Miles Standish, with himself as John
Alden. The picture failed, and Ray was never again
able to regain his hold on the public. This repro-
duction of the Mayflower will give an idea of the
elaborateness of the film.

SAFETY LAST (192 3)

133

In 1923 Charles Chaplin undertook the unprece-
dented step of writing, directing, and producing a
picture in which he himself did not appear. This
was A Woman of Paris, a film whose satire and real-
ism were far removed from what the public had
been led to expect of the typical Chaplin comedy.
Adolphe Menjou played an urbane, cynical man of
the world with a subtlety and consummate smooth-
ness that carried no suggestion of the stock movie
villain, while Edna Purviance created a polished
demimondaine who bore no resemblance to the usual
screen vamp. It was a courageous venture for its
time, one that deserved success— and got it.

One of the most ambitious undertakings of Carl
Laemmle's Universal Pictures, a film version of
Hugo's The Hunchback of Notre Dame, was lavishly
produced in 1923. As Quasimodo, the hunchback,
Lon Chaney further enhanced his reputation as a
great character actor.

BELOW

Harold Lloyd had followed A Sailor-Made Man with
another comic hit, Grandma's Boy, in 1922. Now he
turned out another success, this time in seven reels,
Safety Last. The picture, as you can well understand
from this shot, contained hilarious and frightening
situations that only Chaplin has ever equaled.

134

THE TWENTIES

Such pictures as A Woman of Paris and Nazimova's
productions had shown that producers could film a
serious story, with a fair chance of success. Thus it
was that First National ventured to offer an adapta-
tion of Eugene O'Neill's play Anna Christie, giving
Blanche Sweet one of her best roles.

BELOW

Marion Davies started in the chorus, was featured
in the Ziegfeld Follies, and made her screen debut
in 1917. In 1923 Cosmopolitan Pictures starred her
in Little Old Xetc York. In the scene below, she is
the lad at the whipping post. At the left, Harrison
Ford is giving Louis Wolheim his come-uppance.

Gloria Swanson, whose appetite for costumes seemed
insatiable, played in Bluebeard's Eighth Wife, an
adaptation of Ina Claire's successful stage vehicle
of 1921. The story concerned a millionaire who- had
divorced seven wives and taken an eighth. The
Oriental sequences are pure movie. Huntley Gordon,
above, played Bluebeard.

MERRY GO ROUND (1923)

135

Paramount very well knew the box-office value of a
great name. Accordingly, in 1923 it featured the six-
teen-year-old son of a famous screen star in Stephen
Steps Out. Meet Douglas Fairbanks, Jr. With him
is Harry Myers.

Merry Go Round started as a von Stroheim produc-

tion, but his extravagance was too much for Univer-
sal, and they replaced him with Rupert Julian. The
result, oddly enough, was one of the best of the
von Stroheim series. The von Stroheim sequence
shown here, with Sidney Bracey as the groom and
Dorothy Wallace as the countess, suggests that it
might have been a forerunner, God forbid, of Lady
Chattcrley's Lover.

136

THE TWENTIES

By 1923 Cecil B. DeMille, fed up with directing
custom-made stories to fit the talents of individual
stars, decided he had had enough and proceeded
to produce a super-spectacle. Using his own modifi-
cation of the Griffith trick of storytelling— presenting
a story of ancient times to parallel one of the present
—he filmed The Ten Commandments, which accom-
plished all that he hoped it would. Moses, shown
here, was played by Theodore Boberts. ( The Com-
mandments seem shorter, somehow, than one might
think.)

BELOW

The Ten Commandments really deserved Holly-

wood's favorite adjective, colossal. The critics com-
plained of its obvious and commonplace moralism,
of its frequent vulgarity, and of its general ostenta-
tiousness, but it certainly dragged the public to the
box office. The scene of the parting of the Bed Sea
was a nine days' wonder, and episodes of mass-
production sin, such as this, the worship of the
golden calf, thrilled the fans. DeMille had accom-
plished what he had set out to do: establish his
name as producer of a certain type of spectacular
picture. To this day, he remains one of the few
directors the public at large actually knows by name.

THE TEN COMMANDMENTS (1923)

137

The second half of the picture, dealing with selfish-
ness and greed, concerned two brothers. One, played
by Rod La Rocque, is a young contractor who falls
into the clutches of a— shall we say?— vampire. Here
are La Rocque and Nita Naldi showing how the
clutching is done.

BELOW

The other brother, played by Richard Dix, keeps to
the strait and narrow path— no romping with Miss
Naldi. Here are the two brothers (Dix at the right),
sitting before the model of a church La Rocque is
building. He uses faulty cement, and the building
collapses, killing his mother. (No, the lampshade is
not resting on the spires. )

138

THE TWENTIES

Critics have complained of DeMille's tampering with
history and his willingness to sacrifice dramatic logic
for the sake of spectacle. His fellow producers, on
the other hand, have always been openly envious of
his ability to get by the censors. This orgy, for exam-
ple, from The Ten Commandments, is scarcely a
strawberry festival. However, the producer has al-
ready pointed out how revolting it all is, so why carp?

Norma Talmadge and Conway Tearle (the child is
Jeanne Carpenter) appeared in a story of Catherine
de' Medici and Charles IX of France, called Ashes
of Vengeance. It never quite came off, and, then,
Wallace Beery, in an unsympathetic role, won the
acting honors.

THE GREEN GODDESS (1923)

139

George Arliss, long recognized as one of the theater's
finest actors, brought his latest stage success, The
'Green Goddess, to the screen in 1923. As the wicked,

Oxford-educated raja he was superb, with lovely
Alice Joyce playing opposite him.

140

THE TWENTIES

In 1923 DeMille also directed Adam's Rib, a solemn
treatise on flappers past and present, for Paramount.
Anna Q. Nilsson (left) and Pauline Garon were in
the cast.

BELOW

Here are Elliott Dexter, Wallace Reid, Theodore
Kosloff, Gloria Swanson, and DeMille (seated at
table) supposedly discussing Adam's Rib.

SALOME ( 1923 )

141

Under Charles Bryant's direction, Nazimova appeared
in an adaptation of Oscar Wilde's Salome in 1923. It
was a beautiful production; the costumes, designed
to suggest Aubrey Beardsley's drawings, were the

work of Natacha Rambova (Mrs. Valentino). With
all its merits, it proved a critics' picture. Widely dis-
cussed, it was not widely attended.

142

THE TWENTIES

Barbara La Marr, whom you saw in The Three Mus-
keteers and The Prisoner of Zenda, went back to
modern clothes in The Eternal City. Directed by
George Fitzmaurice, the film also featured Lionel
Barrymore and Richard Bennett. Shown with Miss
La Marr in this scene is Bert Lytell.

BELOW

Many motion-picture directors began as actors, but

James Kirkwood reversed the process. After a long
stage career, he became a director for Biograph in
1909 (he directed many of Mary Pickfords early
films, also acting in them). Eventually he turned
leading man— the rough-hewn, homespun hero type.
He is shown here with Elinor Fair in The Ease's
Feather, produced by Metro in 1923.

OUR GANG ( 1923

143

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The Torrence brothers, David and Ernest, were born
in Edinburgh. Both came to America— David, after
many years on the stage, entering pictures (he
played with Mary Pickford in Tess of the Storm
Country); Ernest singing baritone roles in musical
comedy. Ernest, too, later went to Hollywood, where
he became more prominent than his brother by his
performances in Tol'able David and Captain Blood.
He is shown here in Nortli of '36, made in 1924.

Many a mother must have muttered curses at the
name of Hal Roach, whose Our Gang comedies used
to turn the younger generation into slapstick come-
dians after the Saturday matinee. Here is the origi-
nal gang. Mary Kornman sits on the left of the chair,
Farina on the man's knee. To the right of Farina are
Joe Cobb, public menace number one, Mickey Dan-
iels, and Jackie Condon. The man behind them is
not Will Rogers, but Robert McGowan, their all-
time director.

144

THE TWENTIES

Jackie Coogan's performance in The Kid made him
the most valuable child actor in the industry. He
was immediately starred in a series of pictures that
exploited his wistful charm and exceptional acting
ability. Daddy, in which he appears above, was filmed
in 1923.

ABOVE RIGHT

In 1923 a serial story, The Covered Wagon, ap-
peared in The Saturday Evening Post. Paramount

bought the story, and Jesse L. Lasky, after other
directors had turned down the job, assigned James
Cruze to film it.

BELOW

Cruze took his company to Snake Valley, Nevada,
pitched a camp of five hundred tents, recruited his
extras from the inhabitants of near-by counties, and
spent eight weeks shooting the location sequences
here.

THE COVERED WAGON (1923)

145

The picture's success is historic. Everyone connected
with it prospered. It reaffirmed Cruze's reputation.
James Warren Kerrigan and Ernest Torrence gained
wider popularity. Lois Wilson ( above ) , given the
best part of her career, turned in a fine perform-
ance. The cutter of the picture, Dorothy Arzner, is
now a director. The Covered Wagon is important,
not only as a magnificent picture, but also because
it began a cycle of pictures, depicting the saga of
American pioneer life, that has not yet ended.

BELOW

No sooner was Robin Hood safely launched than
Fairbanks started construction of another, equally

monumental set on the Pickford-Fairbanks lot. This
one was a small village, suggesting the Arabian
Nights rather than the Middle Ages.

And the Arabian Nights it was. For the new picture,
released in 1924, was The Thief of Bagdad, one of
the few screen attempts at pure fantasy ever success-
ful. The motion picture is so much more a realistic
medium than the stage (it's the close-ups that do it)
that most filmed fairy tales seem heavy and literal.
Thanks to Fairbanks' taste and imagination, The
Thief kept his feet off the ground.

146

THE TWENTIES

There was a flying magic carpet, and tall vases pro-
duced jinn, but these improbable appurtenances
were taken so matter-of-factly that the audience was
charmed. The role of the Thief was, of course, ideal
for Fairbanks.

It gave Fairbanks ample opportunity to exercise the
particular brand of athletic charm that no other

motion-picture actor has ever quite duplicated. He
made impossible acrobatic leaps from balconies and
towers, raced up and down flights of stairs, and had
a generally glorious time. Incidentally, The Thief of
Bagdad was an early film that used original music
by a serious composer. Mortimer Wilson's score was
excellent, and excerpts from it are still played.

THE THIEF OF BAGDAD (1924)

147

The tale of the princess and the thief was played
against a series of fantastic Oriental settings, de-
signed by William Cameron Menzies, that were a
triumph of the scenic designer's art. Above is Julanne
Johnston as the princess. Miss Johnston was a Fair-
banks discovery, having first attracted his attention
as a dancer in the prologue to Robin Hood.

ABOVE RIGHT

Another acrobatic actor, in a somewhat different
field, was Buster Keaton. In fact, he came from a
family of acrobats and started bis career in vaude-
ville, traveling in their act. On the screen he was long

a favorite, playing dead-pan comic roles in his own
two-reelers. He and Joseph Schenck, his producer,
eventually became brothers-in-law, for Schenck mar-
ried Norma Talmadge and Buster married her sister
Natalie. He is shown here in one of his most suc-
cessful pictures, The Navigator, made in 1924.

BELOW

William S. Hart, meanwhile, entered upon his tenth
year as a favorite player in Westerns. Here he is in
Singer Jim McKee, a 1924 horse opera. The girl at
the left is Mary Holden; at the right is none other
than our former favorite Sennett bathing girl, Phyllis
Haver.

148

THE TWENTIES

Hoot Gibson, another idol of the Saturday-after-
school public, came to pictures from the circus. He
is seen here, with a group of classmates, in Taming
the West (1925).

BELOW

Born in Poland, Pola Negri went on the stage at

eighteen, then became a ballet dancer, then a violin-
ist. She went into pictures in Germany, where Ernst
Lubitsch made her a star. Her performance in Pas-
sion, with Emil Tannings, attracted such wide notice
in this country that her importation to Hollywood
became inevitable. She appears here in Shadows of
Paris, directed for Paramount by Herbert Brenon.

MONSIEUR BEAUCAIRE (1924

149

Paramount had another female star in Estelle Taylor
( she later married Jack Dempsey ) . Her scene above,
with Thomas Meighan, is from The Alaskan.

ABOVE RIGHT

Here's Miss Taylor again, in Tiger Love. The lucky
man is Antonio Moreno.

BELOW

Valentino chose for his 1924 vehicle Booth Tarking-
ton's Monsieur Beaucaire. His performance as the
nobleman-hairdresser may have lacked something of
the animal vitality of The Four Horsemen and Blood
and Sand, but he never looked more beautiful.
Neither, for that matter, did Doris Kenyon.

150

THE TWENTIES

Bebe Daniels, shown here with him, played the
young noblewoman whose love cannot weather the
apparent discovery that he is only a barber in dis-
guise.

The ballroom scene at Bath, from Monsieur Beau-
caire. It would be interesting to know how they
managed that indirect lighting over the doors in the
eighteenth century.

AMERICA ( 1924)

151

To millions of women, Valentino was the personifi-
cation of romance. His studio mail was enormous,
and from women in all strata of society. The young
men sneered, but imitated his haircut and his man-
nerisms. After all, fifty million women couldn't be
entirely wrong.

BELOW

Griffith made two pictures in 1924. One was Isn't
Life Wonderful, in which Neil Hamilton and Carol
Dempster appeared. It was a sensitive story of

life in postwar Germany, but even six years after the
armistice the public wasn't ready to view German
troubles with a sympathetic eye.

ABOVE RIGHT

Griffith's other picture was America, with a story set
in Revolutionary times. Lionel Barrymore played the
role of the notorious Walter Butler, the British cap-
tain who instigated the Indian massacres in upper
New York.

152

THE TWENTIES

America was only moderately successful, and people
began to say that Griffith was losing his grip. Just
the same, as this shot indicates, he had not lost his
particular genius for dramatic landscape scenes.

Gertrude Olmsted is now the wife of Robert Leonard,
the director. In 1924 she was playing leads. She is
teamed here with Wesley Barry in George Wash-
ington, Jr.

HE WHO GETS SLAPPED (1924)

153

Norma Shearer and John Gilbert made a glamorous
pair in the film version of He Who Gets Slapped,
produced by the young firm of Metro-Goldwyn.
Victor Seastrom directed, and Lon Chaney played
the title role.

DeMille directed an elaborately cast flicker entitled
Triumph, which employed the familiar DeMille de-
vice of putting older cut-backs into a modern story.
Rod La Rocque and Leatrice Joy, for instance, did a
turn as Romeo and Juliet.

154

THE TWENTIES

Constance was the comedienne of the three Tal-
madge sisters and was generally at her best in situa-
tions involving suitor or husband trouble. She had it
in The Goldfish, in which you see her with Zasu
Pitts.

BELOW

Miss Pitts has always had a touch of the Chaplin
genius for combining comedy with pathos. In Greed,

which von Stroheim produced for Metro-Goldwyn in
1924, she had little of the former. The picture, deal-
ing with the lust for money and the destruction it
causes, had considerable grim power and was one of
von Stroheim's best. A von Stroheim touch was to
color metallic objects a bright gold— including the
large gold tooth at the left— to symbolize the theme.

THE SEA HAWK ( 1924 )

155

Milton Sills took his A.B. at the University of Chi-
cago, went on the stage, and finally entered pictures,
eventually playing leads with such stars as Clara
Kimball Young, Geraldine Farrar, and Irene Castle.
He is shown here, with Enid Bennett and Lloyd
Hughes, in The Sea Hawk.

Mary Pickford tackled another grown-up role in
Dorothy Vernon of Haddon Hall, in 1924. With her
in this scene is Anders Randolf. It was a good, color-
ful production with lavish sets, but the public didn't
want their Mary to grow up. After Dorotluj she re-
verted to little-girl roles, and everybody was happy.

156

THE TWENTIES

Then there was the boy who never grew up. He
came to the screen in 1924, when Herbert Brenon
directed Peter Pan lor Paramount, casting Betty
Bronson (above) in the role made famous by Maude
Adams. The picture also served to launch Mary
Brian and to boost Esther Ralston on their careers.

BELOW

The pictures were growing up a bit, no doubt of it.
They even ventured to kid themselves by producing
Harry Leon Wilson's Merton of the Movies, with
Viola Dana as the flapper and Glenn Hunter, who
had created the role on die stage, as Merton.

THE ENCHANTED COTTAGE (1924)

157

The jazz era was well under way, and pictures were
rampant with flappers, lounge lizards, and neglectful
parents. Universal's current contribution was The
Mad Whirl, with Jack Mulhall and May McAvoy
helping with the whirling.

ABOVE RIGHT

This is a scene from a Metro production of 1924,

Thy Name Is Woman, with Ramon Novarro and
Barbara La Marr.

BELOW

May McAvoy was so good an actress that she man-
aged to escape being typed. From playing flappers
she passed to the touching female lead in The En-
chanted Cottage, which First National produced
with Richard Barthelmess in 1924.

158

THE TWENTIES

The Covered Wagons success showed that there was
money in films about American pioneer days, and
the producers quickly took the hint. Another of these
pageant films was The Iron Horse, produced by Fox
and directed by John Ford in 1924.

BELOW

Josef von Sternberg, later Marlene Dietrich's direc-

tor, began his Hollywood career with a water-front
story that he produced independently and released
through United Artists in 1925. It was called The
Salvation Hunters and established him as a young
producer worth watching. The figure on the left in
this scene is George K. Arthur, and the girl in the
doorway is Georgia Hale.

BEAU BRUMMEL (1924)

159

This still from The Dressmaker from Paris is notable
in that it shows an actress who had a great many
fans in 1924 and another who had many fans ten
years later. Leatrice Joy is on the left; on the right,
Sally Rand.

BELOW

By the middle twenties, Justice, The Living Corpse,

The Jest, Richard III, Hamlet, and other plays had
definitely established John Barrymore not only as
one of the great actors of his day, but also as one
of the great box-office attractions. Hollywood nat-
urally grabbed him. Here he is (staring at his nails)
in Beau Brummel, made by Warner Brothers in
1924.

160

THE TWENTIES

The year 1925 saw the emergence of a number of
stars. Two of them were Norma Shearer and Wil-
liam Haines. Miss Shearer had played opposite John
Gilbert in He Who Gets Slapped, but it was the star
of the picture, Lon Chaney, and Gilbert who got
most of tire attention. Now you see her teamed with
Haines as the young love interest in another Lon
Chaney starring vehicle, The Tower of Lies (1925).

The picture was mostly Chaney, of course, but the
two youngsters managed to show their abilities, too.

BELOW

Norma Shearer took another step up the ladder in a
picture called Waking up the Town. Jack Pickford,
Marv's brother, directed it for United Artists and
also played in it opposite Miss Shearer.

THE PHANTOM OF THE OPERA (1925)

161

Probably the best-remembered horror picture of the
twenties was The Phantom of the Opera. None who
saw it could ever forget Lon Chanev's horrific make-
up or the scene where the huge opera-house chande-
lier came crashing down on the heads of the audience.
The Phantom was filmed in 1925 by Universal. It

has recently been remade by the same studio.

BELOW

The love department of the picture was taken care
of by Norman Kerry and Mary Philbin, seen here.
Miss Philbin was one of von Stroheim's discoveries.

162

THE TWENTIES

Shortly after Cone With the Wind had opened, an
interviewer asked Clark Gable, "How does it feel to
be tlie screen's greatest lover?" To which the con-
servative Mr. Gable replied: "It's a living." Here he
is in 1925, starting in to make that living. At the
right, just behind the bush, is Stuart Holmes, one of
the principals in Strongheart. The extra in the din-
ner coat, second from left, is Gable.

BELOW

Sally, Irene, and Mary, made in 1925, brought three
girls into the limelight. On the right is Sally O'Neill,
who became a star of the silents. The other two,
Constance Bennett ( left ) and Joan Crawford, rose
more slowly but stayed longer, for they had their
greatest successes after talking pictures came in.

THE UNHOLY THREE (1925)

163

A study of our hero when he was just another dress
extra.

ABOVE RIGHT

Chaney's makeup in The Unholy Three differed
somewhat from that in The Phantom. Here, from
left to right, we have Victor McLaglen, Harry
Earles, and— you guessed it— Lon Chaney.

BELOW

Another who was playing extra and bit parts was
Janet Gaynor. She is shown here, attending that
famous prep school for movie actors, the Hal Roach
Studios. Janet is the one in the center, with her
finger to her cheek. At the left, superimposed on this
still, is Maestro Roach himself.

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164

THE TWENTIES

Up to 1925 Colleen Moore had been associated
mainly with light-comedy parts. But the screen
adaptation of Edna Ferber's novel, So Big, gave her
her chance. As the schoolteacher who marries a farm
boy and then works in the field to support her child,
Miss Moore ( at the right, in the above still ) revealed
herself an uncommonly gifted young emotional
actress. Wallace Beery and Gladys Brockwell played
the farmer and his wife at whose house the school-
teacher stayed.

BELOW

Beery gave another fine performance that year in a
film version of Conan Dovle's The Lost World. In
this scene, Lloyd Hughes and Bessie Love are with
him. The film, directed by Harry Hoyt, showed a
group of explorers discovering a lost world of saurians.
It used rubber models and double exposures effec-
tively.

THE VANISHING AMERICAN (1925)

165

In 1925 Warner Brothers brought Oscar Wilde's
Lady Windemere's Fan to the screen, featuring Irene
Rich, May McAvoy, Bert Lytell, and Ronald Colman
(the last three are shown here). Colman, after serv-
ing with the original BEF from 1914 until the end
of the war, came to America in 1920. He made his
screen debut in The White Sister, starring Lillian
Gish, in 1923. A polished actor, he was already a
featured player, but was only at die beginning of one

of the longest and most consistently successful careers
in the history of motion pictures.

BELOW

Richard Dix gave up romantic leads long enough to
demonstrate his gifts as a character actor by playing
the Indian in The Vanishing American. The picture
version of Zane Grey's novel was made on the Navajo
reservation in Arizona. Teamed with Dix were Lois
Wilson and Noah Beery.

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166

THE TWENTIES

Charles Rav's disastrous Miles Standish had sent him
back to homespun parts. We see him here ( at the
left ) in a scene from Percy, directed by R. William
Neill and supervised by Thomas Ince for Pathe in
1925. Notice the two-piece orchestra in the fore-
ground. No self-respecting screen star could get into
the proper mood without music, in those days.

The middle and late twenties saw the advent of the
documentary film, which featured scenic effects and
mass action rather than "plot" story or star perform-
ances. Here is a shot from one of the first— and still
one of the finest— Grass, directed by Merian C.
Cooper in 1925. The amazing photography was the
work of Ernest R. Schoedsack.

THE EAGLE (192 5)

167

Gloria Swanson had gone to Paris to make Madame
Suns-Gene. She returned in 1925, having finished
the picture and married the Marquis de la Falaise in
the bargain, and made an entry into Hollywood that
was a production in itself. Accompanied by the
Mayor of Los Angeles, a motorcycle escort, swarms
of movie fans, and a couple of brass bands, she
swept triumphantly from the station to the Para-
mount lot, where the studio employees, who had
been waiting for two hours, pelted her with the
wilted flowers that some mysterious agency had
thrust into their hands. This was all part of a sinister
plot on behalf of Jesse Lasky and Adolph Zukor to
induce her to sign a contract calling for $17,500
weekly for seven years. You'd think almost anyone
would fall for a plot like that, but not Gloria. She

had lots of money, a terrific following, and a new
husband, and wanted to be free to enjoy all three.
So she turned down the Paramount contract. Later
she joined the reorganized United Artists, to produce
her own pictures. Eventually, she lost all three. In
this picture, Miss Swanson is standing, while in the
back seat of the car is the chronicler of Hollywood,
Louella Parsons. The man with the hat brim pulled
down over his eyes is the Marquis.

BELOW

vehicle \

Valentino's current vehicle was a costume piece
called The Eagle. In this scene, the lady casting a
speculative eye over the young officer is Catherine
the Great, as portrayed by Louise Dresser.

168

THE TWENTIES

Retreating strategically from such parts as Dorothy
Vernon, Mary Pickford went back to an adolescent
role in Little Annie Rooncy, which, judging from
this still, was hardly a problem play. The fans adored
it. The Pickford-Fairbanks couple did not rely solely
on their personal popularity, but, in addition, gave
the public productions that were the last word in
technical excellence.

Chaplin's contribution to the year was one of his
best pictures— to many people, the best— The Gold
Rush. There are some, too, who find a parallel be-
tween the story of the film and Chaplin's own rags-
to-riches career. Be that as it may, the picture had
many a scene over which veteran Chaplin fans still
chuckle fondly— the dinner of boot soles and shoe
laces, for example. Another is the dance-hall scene,
shown here. The girl is Georgia Hale.

THE GOLD RUSH (1925)

169

Another Gold Rush scene, with Charlie and Mack
Swain. Mack was one of the original Keystone Cops
(see page 39). The Gold Rush, recently reissued
with a sound track and music and commentary by
Chaplin, did tremendous business.

ABOVE RIGHT

Dorothy Mackaill, English-bom, started as a chorus
girl in the London Hippodrome, came to America,

and became a featured member of the Ziegfeld Fol-
lies. Then Hollywood. She is seen here, with Jack
Mulhall, in Joanna, made by First National in 1925.

BELOW

Harold Lloyd, too, came dirough with one of his
best, The Freshman. If it wasn't quite up to Safety
Last, it couldn't have been more than four laughs
below it.

170

THE TWENTIES

When a tantasy is produced on tue stage, the me-
chanical limitations of the theater force the producer
not only to use his own imagination, but also to put the
imagination of the audience to work. On the screen,
there are practically no mechanical limitations; al-
most anything the producer can imagine can be trans-
formed into reality. As a result, picture audiences
usually take everything literally— and are usually dis-
satisfied. Perhaps that is why the screen version of
Beggar on Horseback, directed by James Cruze— he
of The Covered Wagon— did not possess the charm
and persuasiveness of Winthrop Ames' production of

tne original play. In the trial scene shown here, Ed-
ward Everett Horton, the featured player, is the one
in the dressing gown.

BELOW

Stella Dallas, like Madame X, used to be sure-fire
for any actress capable of playing a good, rousing,
self-sacricing mother role. Belle Bennett played it to
the hilt in a Stella Dallas production that Henry
King directed for United Artists in 1925. She had,
also, beautiful support from Ronald Colman and Lois
Moran.

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THE BIG PARADE (1925)

171

Much of Pola Negri's success in American pictures is
undoubtedly due to the shrewd direction of Ernst
Lubitsch, who made the most of her exotic, Conti-
nental personality. In 1925 she appeared in AWoman
of the World, seen here.

fice. Mae Murray, she of the bee-stung lip, was Sonia,
while Prince Danilo was played by John Gilbert—
who thereby took another step to his ultimate posi-
tion as the screen's great lover. In the group shown
here, Roy d'Arcy is the one on the left.

BELOW

Franz Lehar's operetta, The Merry Widow, first
came to the screen in 1925 through Erich von Stro-
heim's agencies. He directed a screen version of The
Merry Widow that brought standees to the box of-

ABOVE RIGHT

Then, in that same year, Gilbert temporarily aban-
doned the glamour-boy roles and gave the perform-
ance for which he is still remembered, as Jim Apper-
son in The Big Parade.

172

THE TWENTIES

It took seven years for the public to cool off suffi-
ciently to stand a war picture that was not wholly
complimentary to the war. Then, thanks to an adult
and moving script by Laurence Stallings, inspired
direction by King Vidor, beautiful performances by
the principals, and a stunning production bv M-G-M,
The Big Parade took the country by storm. It ran
for ninety-six weeks in New York alone. In this shot,
the girl in the foreground is Renee Adoree as Meli-
sande, next to her is Gilbert and, next to him, Karl
Dane as Slim.

Adoree and Gilbert were a perfect pair, both acting
with a touching sincerity that was irresistible. When
the film reached England, there was a great outcry,
in certain quarters, to the effect that since only
American soldiers appeared in it, the whole thing
was propaganda to show that America had won the
war. The English public, however, realized that these
were soldiers, regardless of what army they ap-
peared in. As a result. The Big Parade ran longer in
London than most American pictures ever did.

BEAU GESTE ( 1926)

173

The increasing percentage of above-the-average pro-
ductions showed that the films were slowly growing
up. The year 1926 saw one of the best silent pictures
ever made, Beau Geste. Produced by William Le
Baron and magnificently directed by Herbert Brenon,
the picture told the exciting and moving tale of
three brothers in the Foreign Legion. In this scene
are the oldest and youngest brothers, played by
Bonald Colman (left) and Ralph Forbes.

BELOW

The cast was superb. Noah Beery, Neil Hamilton,

Colman, and Forbes (right to left in order named)
gave fine performances. William Powell (extreme
left), a virtual unknown, got off to a flying start in
his career by playing a bit part for all it was worth.

ABOVE RIGHT

Temporarily leaving the dramatic roles she custom-
arily played, Norma Talmadge emerged as a come-
dienne in Kiki, an adaptation of Belasco's play about
a street waif and a dramatic producer. Ronald Col-
man played opposite her.

174

THE TWENTIES

In an endeavor to repeat the success of Peter Pan,
Herbert Benon directed Betty Bronson in another
Barrie adaptation, A Kiss for Cinderella. This time
the Barrie whimsicality didn't stand up under the
solid realism of Hollywood.

BELOW

One of the auspicious screen debuts of 1926 was
that of Eddie Cantor. He went to Hollywood that
year to make the film version of his successful stage
musical, Kid Boots. The girl with him is Clara Bow.

IRENE ( 1926 )

175

Harry Langdon was of the dead-pan, scarecrow school
of which Chaplin was the founder— though, to his
credit, it must be said that he made no attempt to
copy literally the clothes and make-up of Charlie the
Great. He developed a large following in a series of
two-reelers, then graduated to full-length comedies,
of which this, The Strong Man, was one. It was di-
rected in 1926 by Frank Capra. Langdon was a
grand zany, but for some reason could not sustain a
feature-length comedy.

BELOW

There was a time when Colleen Moore was one of
the highest paid stars in pictures, and she is still re-
membered, although she retired some years ago. She
got her start with the old Triangle Company, having
been one of Griffith's discoveries, and was first starred
as the flapper in Flaming Youth. She is shown here,
with Kate Price, in Irene, a 1926 adaptation of the
musical comedy.

176

THE TWENTIES

Yes, it's Gary Cooper, and this is how he looked in
the first picture in which he played a leading role,
The Winning of Barbara Worth, Henry King di-

rected the film for Samuel Goldwyn in 1926. Cooper
made an immediate hit with the female fans, but as
he wasn't a star yet, he had to give up the gal.

MISS NOBODY ( 1926)

177

"I'll have to do some fast climbing to get away from
that brakeman" was the caption for this shot. The
boy is Anna Q. Nilsson in First National's produc-
tion of Miss Nobody.

Alma Rubens first attracted attention in The Half-
Breed, with Douglas Fairbanks. Then she appeared
to advantage in Humoresque. This is a scene from

Marriage License, directed by Frank Borzage.

178

THE TWENTIES

They used to call Barbara La Marr "the girl who is
too beautiful." In 1926 she starred for First National
in The Girl from Montmartre, with Robert Ellis
playing opposite her. It was her last picture. She
died in January of that year, two months before the
picture was released.

ABOVE RIGHT

In that same year, too, Valentino ended a career that
had lasted only six years. His last picture was The
Son of the Sheik, an attempt— and not a very happy
one— to recapture the glamour of his first starring
film. Vilma Banky, the new Hungarian find, was his
leading lady, but the picture had a prologue featur-
ing Agnes Ayres, the female lead of the old Sheik.
A few weeks after the picture was released, Valen-
tino died, following an emergency operation. His
funeral services in New York caused a riot; Camp-

bell's funeral parlor, where his body lay, was nearly
wrecked by hysterical fans. Thousands of weeping
women gathered at way stations across the country
to watch the funeral train on its way to Los Angeles.

BELOW LEFT

Today, in De Longpre Park in Hollywood stands the
only tangible evidence that Valentino existed, this
bronze monument to his memory, paid for by small
contributions from his sorrowing fans.

BELOW RIGHT

Another Latin star was the one-time extra, Ramon
Novarro, whom you saw in The Prisoner of Zcnda,
and whose star reached its zenith in M-G-M's pro-
duction of Ben Hur. He is shown here, in the title
role, being seized by the Roman guards.

BEN HUR ( 1926)

179

Ben Hur had a long and expensive history. Goldwyn
bought the picture rights in 1922. June Mathis was
the scenarist and supervisor; Charles Brabin was di-
rector; and George Walsh was to play the leading
role. The three were sent to Italy to start produc-
tion. However, the merger of Metro, Goldwyn, and
Mayer in 1924 necessitated a cancellation of the
original plans. In place of the original three, M-G-M
sent over Carey Wilson and Bess Meredyth, scenarists
and supervisors; Fred Niblo, director; and Ramon
Novarro. Altogether the finished picture represented

three years' work, in Italy and Hollywood, and an
expenditure of over two million dollars. Here is the
start of the famous chariot race. This scene alone, to
build and shoot, cost a quarter of a million dollars.

BELOW

The cast included, besides Novarro, May McAvoy,
Kathleen Key, Carmel Myers, and Betty Bronson.
Francis X. Bushman, continuing as a villain, acted
the role of Messala. This is the scene in the race
where Messala, attempting to foul Ben Hur, lashes
him with his whip.

180

THE TWENTIES

Valentino was not the only Latin-type lover to be-
come a favorite, although he led the field. One of
the more fascinating villains of the period was Ri-
cardo Cortez, shown here in a scene from a pirate
picture, Eagle of the Sea, made by Paramount in
1926. Costarred with him was Florence Vidor, whose
serene beauty made her a long-time favorite. She
retired from films to become Mrs. Jascha Heifetz.

Clara Bow entered the films by the beauty-contest
route and first attracted attention in Down to the
Sea in Ships. But not until Elinor Glyn made her the
"it" girl did her stock really go up. After that there
was no stopping her until her voluntary retirement.
She is here giving a demonstration of "it"— and a
pretty convincing one, too— in Mantrap, a Paramount
production of 1926— a year before she actually be-
came the "it" girl.

THE SEA BEAST ( 1926)

181

Dolores Costello was John Barrymore's leading ladv
in several of his pictures. Their scene here is from

The Sea Beast, filmed r>v Warner Brothers. Thev
were married in 1928.

182

THE TWENTIES

In 1923 Laurence Stallings and Maxwell Anderson,
respectively a literary columnist and an editorial
writer on the old New York World, wrote a bawdy,
tragic, hilarious war play that they planned to call
None But the Brave, with the subtitle, "A Comedy
with a Few Deaths." They sold it to Arthur Hopkins,
who produced it in 1924 under the name What Price
Glorij? Hollywood, however, would have none of it,
thinking that the public didn't want war pictures. It
took The Big Parade, by the same Stallings, to
awaken Hollywood to the fact that there might be
gold in What Price Glorij?

BELOW

And there was. Veteran playgoers insist that no one
could ever equal the unforgettable performances of

■

Louis Wolheim and William Boyd as Captain Flagg
and Sergeant Quirt in the stage version. Just the
same, Victor McLaglen and Edmund Lowe ( shown
in the preceding still ) were enormously satisfying. In
this scene we have the heroine of the story, Char-
maine, as played by Dolores Del Rio. The film was
directed by Raoul Walsh and produced by Fox.

ABOVE RIGHT

Claire Windsor, like Clara Bow, was a beauty-contest
winner who really made good in pictures. After play-
ing extra parts, she started under Lois Weber's di-
rection and eventually became a leading lady. Con-
rad Nagel and Miss Windsor were teamed in Dance
Madness, a scene from which is above.

THE BLACK PIRATE (1926)

183

Since The Glorious Adventure (see page 128) there
had been various sporadic attempts to make pictures
in color. None of them turned out well until Douglas
Fairbanks made The Black Pirate, in 1926, in tech-
nicolor. It was not perfect, but it was away ahead of
its predecessors. Aside from the color, it was a typi-
cal Fairbanks vehicle, full of love, adventure, and
"How's he going to get out of it?" situations— of
which this one is a good example.

In 1926 M-G-M filmed Brown of Harvard, featuring
Jack Pickford. Also in the cast was a youngster named
William Haines. In the role of a flip, wisecracking
collegian, he ran away with the picture so completely
that he was immediately assigned to a series of
juvenile leads. He continued to play these roles, with
great success, until his retirement to become an
equally successful interior decorator. In this scene
Haines is in the fur coat. The man in bed is Jack
Pickford. Between them is Mary Brian.

184

THE TWENTIES

Robert Flaherty induced Paramount to produce a
picture he had shot in the South Sea islands, Moana
of the South Sens. It had virtually no plot, but
thanks to its exotic atmosphere and beautiful photog-
raphy was an artistic success.

ABOVE RICHT

Moana would be called a documentary film today. It
celebrated the joys of the simple, outdoor life of
primitive people. Among its attractions were shots of
several authentic native dances, such as this.

BELOW LEFT

Bessie Love had an extraordinarily varied career.
Starting with Griffith after graduation from high
school, she played everything from home girls to
dance-hall vamps. She had something of the little-

girl quality of Mary Piekford, yet could play the dope-
crazed mother of Human Wreckage. She had some-
thing, too, of the wistful charm of Lillian Gish, yet
could be a hoofer in The Broadway Melody. In 1926
she created one of her most famous roles, shown
here, that of Lovey Mary, in the picture of the
same name.

BELOW RIGHT

Although Farrar's Carmen had been a pronounced
success, the movies had always rather shied away
from stories used as grand opera. However, Henry
King finally directed a version of Murger's Scenes
de la vie de Boheme, which Puccini had turned into
an opera. Lillian Gish played Mimi; her fragile
beautv was a perfect embodiment of the doomed lit-
tle grisette. John Gilbert was an equally happy choice
as the poet, Rodolphe, in La Boheme.

HOTEL IMPERIAL (1926)

185

Mauritz Stiller was invited to come to Hollywood as
a director because of a film he had made in Sweden
in 1923, called The Story of Gosta Berling. In the
picture was a young actress protegee of his, and
when he came to America he brought her along, with
the understanding that she was to have a contract,
She got the contract, but the studios paid no atten-
tion to her for a while. She was Greta Garbo. In the
photograph above, she appears with Lars Hanson in

a scene from the Swedish film. Stiller was also in-
strumental in bringing Hanson to America, where he
played leading roles, as in The Scarlet Letter.

BELOW

Stiller never quite succeeded in hitting the pace of
the Hollywood mills. One of his most nearly success-
ful pictures was Hotel Imperial, made in 1926. In
this scene we see Pola Negri and Max Davidson.

186

THE TWENTIES

In 1926 Lillian Gish, directed by Victor Seastrom,
starred in The Scarlet Letter for Metro-Goldwyn-
Mayer. In this picture of the company on location,
Seastrom is seated on the ground beside Miss Gish.
To the right, in the black Puritan costume, is her
leading man, Lars Hanson. Notice the violin-melo-
deon-cello ensemble at the left. Even in the open

spaces of the Hollywood hills, music had to provide
atmosphere.

BELOW

The climactic pillory scene of The Scarlet Letter, in
which Lars Hanson, as the Reverend Dimmesdale,
denounces himself as the father of Hester Prynne's
child.

IT ( 1927)

187

It, according to a motion-picture trade journal, was
"wholly lacking in literary excellences, while im-
plausible." What it didn't lack was sex appeal,
meaning Clara Bow, the girl from Brooklyn who

typified the twenties. The story was written for Para-
mount by Elinor Glyn, who discovered the possibil-
ities of "it," and the film was released in 1927.

188

THE TWENTIES

For 1927, Douglas Fairbanks shifted the scene of his
annual chronicle of derring-do to South America,
producing The Gaucho. It was a good vehicle, but
no more than that. His leading lady was Eve South-
ern—no newcomer, for she had mad'? her -creen de-
but in Intolerance.

ABOVE RIGHT

Mary Pickford offered My Best Girl, based on Kath-
leen Morris' version of King Cophetua and the beg-
gar maid— in this case, the girl who worked in the
five-and-ten and fell in love with the manager's son.
Nobody concerned took the story too seriously, so
Miss Pickford had a chance to employ her by no
means inconsiderable comic gifts. In this scene, Lu-
cien Littlefield, on the left, is her father, and Charles
"Buddy" Rogers her new husband. It might be re-

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marked, in passing, that just ten years after this
picture, Miss Pickford became Mrs. Buddy Rogers.

BELOW LEFT

Buster Keaton also made a war picture, a little item ■
called The General, which he released through United
Artists. The point of view, the setting, and the period
were somewhat different from Wings, as a glance at
the accompanying photograph will reveal. The lighted
fuse on the mortar should not be overlooked.

BELOW BIGHT

This same Buddy Rogers also appeared as the hero
of Wings-, which was to the air force approximately
what The Big Parade had been to the infantry. He
is shown here, taking refuge in a shell hole after es-
caping from his cracked-up plane.

WINGS ( 1927 )

189

The story of Wings concerned the part played by
our air force during the battle of the Saint-Mihiel
salient. William A. Wellman, who directed the pic-
ture, was highly praised for his handling of the story
and particularly for his masterly treatment of the fly-
ing sequences. This was hardly surprising, as Well-
man had been an aviator during the war. The cast
of Wings also included Clara Bow, Gary Cooper,
and Richard Aden.

BELOW

Douglas MacLean, after establishing himself with the
public in Twenty-three and a Half Hours' Leave, in
1919, followed a career of ups and downs, culminat-
ing in Going Up, which he backed himself. The pic-
ture placed him near the front rank of the screen's
comedians. In 1927 he entertained with Soft Cush-
ions, ably abetted by Sue Carol. MacLean, by the
way, is now a Hollywood producer.

190

THE TWENTIES

Nor were the other comedians idle. Eddie Cantor,
for instance, followed his success in Kid Boots with

a not too severely realistic picture of the life of a
postman, Special Delivery.

THE STUDENT PRINCE (1927)

191

Ever since Richard Mansfield produced Old Heidel-
berg, early in the century, the tale of the royal stu-
dent who falls in love with a serving maid and has
to leave her to take his place on the throne has been
a favorite with playgoers. When Dorothy Donnelly
and Sigmund Romberg revamped it into an operetta,
The Student Prince, its transference to the screen
was only a matter of time. M-G-M filmed it (the
operetta version) in 1927, costarring Norma Shearer

and Ramon Novarro, with Ernst Lubitsch as director.

BELOW

Corinne Griffith, "the orchidaceous star," as the press
department liked to call her, was undoubtedly one of
the loveliest girls ever to appear on the screen. She
is shown here in a scene from Lady in Ermine. With
her is the great lover of the 'teens, Francis X. Bush-
man, in the role of, believe it or not, the villain.

192

THE TWENTIES

If one were to ask, "Who was the most beautiful
woman ever seen on the screen?" there would be a
chorus of answers, with few of them agreeing. One
thing is certain: the lovely Hungarian, Vilma Banky,
would be one of the selections. This beautifully com-
posed scene is from Night of Love, produced by
Samuel Goldwyn, directed by George Fitzmauricc,
and costarring Miss Banky and Ronald Colman.

BELOW

In the summer of 1927 Miss Banky married Rod La
Rocque. At the time, she was Goldwyn's favorite

star, and to celebrate the occasion he gave her a
wedding that is still a Hollywood legend. Practically
every screen luminary in Hollywood attended, to-
gether, needless to say, with a horde of rabid fans
who literally tore the bride's gown to pieces. This
picture of the newlyweds and their ushers will give
you a chance to see what some famous screen per-
sonalities looked like in civilian clothes. Left to right:
Harold Lloyd, Ronald Colman, Donald Crisp, Sam-
uel Goldwyn, Miss Banky, Rod La Rocque, Cecil B.
DeMille, Victor Varconi, George Fitzmaurice, and
Jack Holt.

UNDERWORLD ( 1927 )

193

Give Brook had been on the stage and screen in
England before going to Hollywood, to become a
favorite leading man. He and Florence Vidor were
a popular pair on the Paramount lot and were co-
starred. They are shown here in a scene from Afraid
to Love, made in 1927.

ABOVE RIGHT

Brook appeared with Evelyn Brent in Underworld, a
crook melodrama that Ben Hecht wrote for Para-
mount in 1927. Miss Brent, seen here, began as an
extra in 1914, then went to England and became a
star. A good actress, she had her greatest success in
talking pictures.

BELOW LEFT

Everything about Underworld was successful. Hecht's
script was good, and Brook and Miss Brent were
widely praised. The picture also made a featured
player of George Bancroft (seen here) and added
greatly to Josef von Sternberg's rapidly growing repu-
tation as a director.

BELOW RIGHT

"The world's greatest actor as the greatest lover of
all ages" is the way the press department diffidently
described it. In other words, John— pardon— Mr. (as
the studio always billed him) John Barrymore made
Don Juan in 1926.

194

THE TWENTIES

A fine motion picture was King Vidor's The Crowd,
distributed by M-G-M in 1928. The two protagonists
of this simple, moving tale were Eleanor Boardman
and James Murray, shown above.

BELOW

Of the productions that Mauritz Stiller directed in this
countrv, Barbed Wire was the one most nearly a hit.
The story concerned a French girl in the World War
in love with a German prisoner. The war-engendered

hate of the townspeople is about to wreck their lives
when her blinded brother returns to preach peace
and tolerance. Clive Brook played the German pris-
oner. In this scene we see Pola Negri as the French
girl, Einar Hanson as her brother, and Claude Gil-
lingwater as her father. The picture had tragic reper-
cussions. Shortly before the picture was released,
Hanson was killed in an automobile accident; and
Stiller died a vear later.

FLESH AND THE DEVIL (1927)

195

John Gilbert was by now one of the most sought-
after leading men in pictures. To play opposite him
was practically star insurance for any girl. In Twelve
Miles Out, he was teamed with young Joan Craw-
ford. You'd hardly know our Joan, would you?

BELOW

But Gilbert was headed for a partnership that was to
last for years and to become one of the most famous
in the annals of the screen. Greta Garbo, Stiller's
protegee, after waiting around for a while, was at
last assigned to play opposite Ricardo Cortez in a
screen version of ibanez' The Torrent (1926). Al-

most overnight she took her place as one of the most
potent personalities in the history of pictures— a posi-
tion that she still retains, by the way. Next she
played with Antonio Moreno and Lionel Barrymore
in The Temptress ( 1926). She found her ideal lead-
ing man, however, when she appeared with John
Gilbert, in 1927, in Flesh and the Devil, a scene
from which. is shown here. The picture established
them as the great lovers on the screen. One reason
for Garbo's enduring popularity is undoubtedly that
women are, if possible, even more fascinated by her
than are men. Matinees mean box office.

196

THE TWENTIES

Janet Gaynor had been coming along steadily and
had played a lead in The Johnstown Flood, in 1926.
She got her great chance the following year, when
she was teamed with Charles Farrell in an adapta-
tion of Austin Strong's play about a Paris waif and

her sweetheart who worked in the sewers. Thanks to
Frank Borzage's adroit direction and the appealing
performances of the two principals, Seventh Heaven
became the picture of the year. The two young stars
were together in several subsequent films.

LOVE ( 1927)

197

That same year, Garbo and Gilbert appeared in
a screen version of Tolstov's Anna Karenina, coyly
disguised under the title Love.

Another notable picture in which Janet Gaynor ap-
peared in 1927 was Sunrise, adapted from Hermann

Sudermann's A Trip to Tilsit. F. W. Murnau's excel-
lent direction, the acting of Miss Gaynor and George
O'Brien, and the beautiful lighting and photography
resulted in an impressive film. This scene shows
O'Brien, as the husband, setting out on the boat ride
during which he intends to drown his wife.

198

THE TWENTIES

The chiller, The Cat and the Canary, was filmed by
Universal in 1927, and directed by Paul Leni. In
the scene above are Flora Finch, Creighton Hale,
Forrest Stanley, Laura La Plante, and Arthur Carewe.

One of the year's most ambitious and daring pro-
ductions was The King of Kings, the story of the life
of Christ. Cecil B. DeMille produced and directed
it, and he handled an extraordinarily difficult sub-
ject with taste and reverence.

THE WAY OF ALL FLESH (1927)

199

To H. B. Warner must go much credit for the suc-
cess of the picture. His performance in the role of
Christ, far from giving offense, was a triumph of
sensitiveness and beauty.

BELOW

It is not generally known that Emil Jannings, her-
alded in his day as "the greatest actor in the world"
(and he was a superb one) was born in New York.
However, he was taken to Germany when he was

still a baby. He began his stage career in repertory
companies and eventually in Max Reinhardt's com-
pany. Going into films, he attained world-wide popu-
larity by his performances in Du Barnj (Passion),
The Last Laugh, and Variety. Paramount brought
him back to this country and starred him in a num-
ber of pictures, the first of which was The Way of
All Flesh, a story of a bank cashier who was a de-
voted father and good husband, but who went "the
wav of all flesh" and ended as a derelict.

4. Comes the Revolution

It was in the late summer that the blow fell. A new
contraption had been peddled around the studios, a
device for producing pictures that talked, by means
of a wax recording of the actors' voices, synchronized
with the film projector. But the well-established pro-
ducers did not fall for any such newfangled non-
sense; besides, the cost of wiring all the theaters
for sound would be prohibitive. It remained for the
comparatively obscure and financially worried War-
ner Brothers to take a chance on the new process,

which they named the Vitaphone. They hired Al
Jolson, one of the most popular musical stars of the
day, selected a maudlin play entitled The Jazz
Singer, and went to work. However, this was not the
first time that Warner Brothers had experimented
with this process, for as early as 1926 they had pro-
duced a silent film— Don Juan (see page 193)— with
a synchronized musical score. And in May, 1927,
Fox launched the Movietone Newsreel, using sound.

201

202

COMES THE REVOLUTION"

The Jazz Singer opened on the evening of October
6, 1927, and made history. It was not an all-talking
picture, for a good part of it was silent.

For one thing, The Jazz Singer turned out to be a

box-office gold mine that made over two million
dollars for the Warners and set them on their feet
financially. It made a movie star out of Jolson. But
above all, it turned the film industry topsy-turvy
and consigned the silent picture to the scrap heap.

THE JAZZ SINGER (1927)

203

One famous silent star never had to worry about the
advent of talkies— Rin-Tin-Tin. Here he is in one
of his pictures, made in 1927 for Warner's.

ABOVE RIGHT

The year 1928 was one of toil and tribulation for
the producers. The success of the new talking pic-
ture had made it ominously clear that the days of
the silent film were numbered. New stages must be
built, and new apparatus installed— and what about
the silent stars? Could they read lines? Would they
hold their public? Warner Brothers worried least.
With their Vitaphone they had a head start on the

rest of the industry, and they had at least one star
who was a genuine stage actress, and a good one-
Pauline Frederick. Here she is, in a scene with
Richard Tucker, from On Trial, an all-talking pic-
ture produced by Warners in 1928.

BELOW

Many of the other stars, pending the frantic efforts
of their studios to equip themselves for sound, came
out with silent pictures. Greta Garbo, for instance,
made The Divine Woman, under Victor Seastrom's
direction. She is shown here with her director and
with Lars Hanson (left), her leading man.

204

COMES THE REVOLUTION

Emil Jannings gave what some consider his finest
performance, in The Last Command. This was a
Paramount silent, directed by Josef von Sternberg,
in which Jannings played an exiled Russian officer
who becomes a Hollywood extra.

ABOVE RIGHT

Although Ernst Lubitsch and Emil Jannings had
been director and star, respectively, in some of the
finest pictures to come out of Germany, their paths
didn't cross in America until 1928, when they made
The Patriot for Paramount. In it Jannings had one
of his best roles, that of the mad Tsar Paul I of
Russia. His leading lady was Florence Vidor, shown
here. Lewis Stone was Count Pahlen. When his
contract ended, Jannings returned to Germany.

BELOW LEFT

With The Wedding March, a 1928 silent, Erich von
Stroheim accomplished the difficult feat of breaking

his own record for extravagance. He started shooting
in June, 1926, and stopped in late spring, 1927, with
about twenty-two reels of film in the cans. He spent
the ensuing year trying to cut it down to ten reels,
with no success. The exasperated Paramount man-
agement finally assigned several other cutters to the
job. They managed to cut it to size, but the finished
film was uneven and disjointed. Even so, much of
the film was remarkably fine, and the photography
was excellent. This scene shows von Stroheim as a
Viennese nobleman; Zasu Pitts, as the lame princess
whom he is forced to marry; and (left) Fay Wray as
his true love.

BELOW RIGHT

Another picture Josef von Sternberg directed for
Paramount in 1928 was Docks of New York. It was
a story of the underworld, and featured Betty Comp-
son and George Bancroft.

THE STREET ANGEL (1928)

205

Another star to remain silent during the year of the
great transition was Lillian Gish. Here she is in the
role of Letty in The Wind, a story of the Southwest
that Victor Seastrom directed for M-G-M.

BELOW

Fox's bid to emulate Seventh Heaven's great success

was The Street Angel, in which Janet Gaynor and
Charles Farrell were again costarred. Despite the
voung couple's charm and Frank Borzage's direction,
it hardly equaled its predecessor in popularity. As
this picture of Miss Gaynor shows, the film was dis-
tinguished by some exceptionally fine camera work
by Ernest Palmer.

206

COMES THE REVOLUTION

Norma Talmadge's silent for the year was Tlie Dove,
mack- for United Artists. Here she is, with Noah
Beery (right), who turned in a fine characterization,
in a scene from the film.

Reverend Davidson, in a scene from the picture.
Raoul Walsh, who directed the film, played the
marine witli whom Sadie falls in love.

ABOVE RIGHT

For United Artists, also, Gloria Svvanson did an
adaptation of the famous play, Rain, under the title,
Sadie Thompson. She is seen here with Lionel
Barrymore, who gave a superb performance as the

Joan Crawford got her chance in a flaming-youth
opera entitled Our Dancing Daughters. It estab-
lished her in a type of role that soon became asso-
ciated with her name and made her a star.

LILAC TIME ( 1928)

207

Lon Chaney, forsaking horrors, went back to the
clown characterization he had found so successful in
He Who Gets Slapped. This time it was a variation
of the Pagliacci story entitled Laugh, Clown, Laugh.
Playing the ingenue lead was a fifteen-year-old
youngster named Loretta Young, who had made her
screen debut in Nauglity But Nice.

Lilac Time began as a silent starring vehicle for
Colleen Moore. Then sound came in, and the pic-
ture was revised, emerging with "synchronized
sound effects"— meaning that appropriate noises and
sounds were inserted at intervals after the film had
been shot. In this scene, Colleen, disguised as a boy,
is being scolded by Gary Cooper.

208

COMES THE REVOLUTION

Chaplin made a circus picture, too, in 1928. In fact,
he called it The Circus. The great comedian was as
funny as ever, although his picture was infinitely
removed from the pie-throwing two-reelers of his
earlier days. His costume alone remained unchanged.
Otherwise, his people were no longer comic-strip
caricatures, but real people. His performance was a

masterpiece of mingled emotions, a blend of farce
and pathos so subtly contrived that the spectator
hardly knew where one left off and the other began.
The Circus is still one of his great pictures. He is
seen here with his leading lady, one of his discov-
eries, Merna Kennedy.

ABIES IRISH ROSE (1928)

209

Another synchronized-sound-effects picture of the
year was the screen version of that record-run play,
Abie's Irish Rose. In this scene, we have the two
parents, played by J. Farrell MacDonald and Jean
Hersholt, with Buddy Rogers as Abie, and Nancy
Carroll as Rose.

Jean Hersholt also appeared as the storm center of
another synchronized picture, Battle of the Sexes,
directed by David Griffith for United Artists. Here,
Hersholt, a fairly tired businessman who has become
involved with Phyllis Haver, a blonde gold digger, is
having a bit of an argument with Don Alvarado
and Sally O'Neill. Everybody wore spats in those
days.

210

COMES THE REVOLUTION

Fox presented Four Sons, the story of a family torn
asunder by the war. Directed by John Ford, with
the inevitable synchronized effects, it won places in
several "best ten" lists of 1928. Its featured players,
shown in this scene, were (left to right): George
Meeker, James Hall, Margaret Mann, Francis X.
Bushman, Jr., and Charles Morton.

BELOW

Beggars of Life, a screen version of Jim Tully's grim
novel, produced by Paramount in 1928, differed
from the average "sync" picture in that it had sev-
eral sequences of actual dialogue. In this scene, we
have Louise Brooks, Richard Arlen, and Wallace
Beery. William Wellman directed the film.

THE SINGING FOOL (1928)

211

After his success in The Jazz Singer, Al Jolson natu-
rally made another singing, talking picture— The
Singing Fool. The critics agreed that it contained
nothing new and was a mere repetition of the ef-

fects in The Jazz Singer. True enough, except for
the detail that it grossed a million dollars more than
its predecessor.

5. The Talking Picture

By 1929 Hollywood had begun to recover from its
first panic and was grinding out sound films as fast
as they could be shot. Most of them were pretty bad.
The public, still fascinated by the fact that they
talked at all, was not yet very critical of what they
said. There were, however, good ones. Mary Pick-

ford, for example, chose wisely in selecting the title
role of Helen Hayes' stage success, Coquette, as
her first speaking part. She proved that her early
training with Belasco had not been wasted. She was
a good actress, not just a good movie actress. John
Mack Brown, shown here, played opposite her.

213

214

THE TALKING PICTURE

Mary and Doug hud never been costarred in a film.
They selected as their first talking picture together
The Taming of the Shrew. The picture was signalized,
among other things, for its immortal credit line:
"The Taming of the Shrew, by William Shakespeare,
with additional dialogue by Sam Taylor."

Norma Shearer also chose an adaptation of a suc-
cessful stage play for her first venture into the talk-
ies. This was The Last of Mrs. Cheyney, and she
played the role made famous by Ina Claire. Opposite
her was Basil Rathbone, from the New York theater.
The film was only partly a "talkie."

THE TRESPASSER (1929)

215

The first all-talking picture in which Joan Crawford
appeared was Untamed. It would hardly deserve
mention here, except for the fact that her leading
man was a young actor named Robert Montgomery,
who had come to Hollywood from the stage.

ABOVE RIGHT

Contrary to popular belief, Charlie McCarthy was
not the first ventriloquist's dummy to appear on the
screen. Here is Otto, with Erich von Stroheim, in
the all-talking picture The Great Gabbo. James Cruze

directed this story of a man with a dual personality.

BELOW

Gloria Swanson took no chances, but wisely chose
Laura Hope Crews to coach her for her first talk-
ing picture, The Trespasser, produced in 1929.
Thanks to Miss Crews' coaching and Edmund
Goulding's direction— not to mention Miss Swanson's
own talents— she made the transition with pro-
nounced success. Purnell Pratt appears with her in
this scene. i

216

THE TALKING PICTURE

Ruth Chatterton had, of course, been a stage star
long before she went into pictures, and her theatrical
training stood her in good stead in the talking ver-
sion of Madame X. Lionel Barrymore temporarily
forsook acting to direct it. Raymond Hackett is at
the extreme right in this scene.

BELOW

George Arliss, being a consummate actor, became
even more successful in talking pictures than he had
been in silents. He is shown here, with Anthony
Bushell, in a scene from Disraeli, directed by Alfred
Green and released in 1929.

THE COCKEYED WORLD (1929)

217

What Price Glory? started an epidemic of soldier-
pictures, many of them revolving about a feud be-
tween two members of the AEF over a girl. The
original feud between Captain Flagg and Sergeant
Quirt was continued by Victor McLaglen and Ed-
mund Lowe in a talkie of 1929, The Cockeyed
World. The bone— if one may be so ungallant— of
contention this time was Lily Damita.

BELOW

Jeanette MacDonald was teamed with a French
musical-comedy star who had caught the movie
public's fancy with his first picture, The Innocents of
Pan's— Maurice Chevalier. Their combined talents,
plus Ernst Lubitsch's sly direction, made The Love
Parade an instant success.

218

THE TALKING PICTURE

Another musical was Rio Rita, which Luther Reed
directed lor RKO in 1929. The screen version was
as popular as the original stage production had been.
The costars, seen here, were John Boles and Bebe
Daniels. The comics Bert Wheeler and Robert YVool-
sev were also in it.

ABOVE RIGHT

Sunny Side Up had a thin plot, but it had songs by
DeSylva, Brown, and Henderson, lavish sets, and the
current top romantic couple, Charles Farrell and
Janet Gaynor. And they talked and sang. The sum
total was another big money-maker.

BELOW

Broadway, an adaptation of the famous prohibition-
night-club play, wasn't exactly a musical film, but it
had lots of singing and dancing in its cabaret scenes.
Rather than go East for its Broadway atmosphere,
Universal elected to build its own Broadway. This
photograph will give you some idea of the incredible
detail and perfection of Hollywood miniature sets.
The stage hand, looming over the Palace Theater,
will give you an indication of the scale to which the
set is built.

HALLELUJAH (1929)

219

The letter, based on the Somerset Maugham story,
was first filmed in 1929 with the stage star, Jeanne
Eagels, in the lead. Jean Limur directed it for
Paramount. In the shot above are Miss Eagels and
Herbert Marshall. In the remake Marshall re-enacted
his part, this time opposite Bette Davis.

BELOW

One of the finest pictures of the year— still one of
the best pictures ever made— was Hallelujah, directed
with masterly sensitivity and sympathy by King Vidor,
for M-G-M. This story of the community soul of the
Negro included this famous revival scene.

220

THE TALKING PICTURE

Another M-G-M contribution to 1929 was The Broad-
way Melody. This was a story of backstage life, with
plenty of singing, dancing, and chorus work intro-
duced plausibly enough to delight a large public.
Three of its leading actors achieved individual tri-
umphs. Right to left, they are: Anita Page, just be-
ginning her career; Charles King, musical-comedy

lead; and Bessie Love, who emerged brilliantly after
a temporary eclipse.

BELOW

United Artists produced a screen version of Long-
fellow's Evangeline that was part talkie and had a
synchronized musical score underlining the story with
great effectiveness. Furthermore, it had a beautiful
setting, excellent photography, and Dolores Del Rio.

STEAMBOAT WILLIE (1929)

221

A year previously, in 1928, a young man named
Walt Disney (he was then twenty-seven years old)
had produced an animated cartoon— silent, of course
—called Plane Crazy. Its principal character was a
promising young actor destined to become famous as
Mickey Mouse. In 1929, Disney again starred his
precocious rodent in Steamboat Willie, shown here
—the first Mickev Mouse with sound.

BELOW

That same year, Disney produced The Skeleton
Dance, the first "Silly Symphony." Its historical im-
portance lies in the fact that it was the forerunner
of his Fantasia, for it was an animated interpretation
of a standard orchestral work— in this case, Saint-
Saens' Danse macabre.

222

THE TALKING PICTURE

Of all the important stars, Garbo alone persisted in
appearing in a silent film. Though praetieing Eng-
lish, she felt that her speech was not yet good enough
to risk in a talkie. In 1929 she starred in A Woman
of Affairs, a screen version of Michael Aden's popu-
lar novel, The Green Hat. John Gilbert (on the
right) was again her leading man.

BELOW

The year 1930 saw the production of what most
agree is one of the greatest war pictures of all time,
All Quiet on the Western Front. It brought fresh

laurels to virtually everyone connected with its mak-
ing—to the author, Erich Maria Remarque; to Carl
Laemmle, of Universal, for his courage in producing
a picture dealing with the German side of the World
War; above all, to Lewis Milestone, whose handling
of the story put him in the first rank of motion-pic-
ture directors. Louis Wolheim was magnificent, and
Lew Ayres, as Paul, the protagonist of the drama,
gave a performance that made him a star. Seen here
are (left to right): Ayres, Russell Gleason, Wolheim,
William Blakewell, and Ben Alexander (whom we
saw in so many pictures as a youngster).

ALL QUIET ON THE WESTERN FRONT (1930

223

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No one who saw it will ever forget the heartbreak-
ing scene in which Paul, coming upon a French sol-
dier in a shell hole, stabs him in panic, only to realize
that both of them are merely bewildered and fright-
ened human beings. Here the Frenchman is trying
to give Paul his papers to send back to his wife and
children. The role of the dying soldier, played by
Raymond Griffith, was another of the masterful per-
formances in the film. Griffith later gave up acting to
become a successful director. Universal rereleased
All Quiet in 1939, with an interpolated sound track
having an unseen narrator talking about the horrors
of war. This addition considerably detracted from
the picture's effectiveness.

BELOW

Greta Garbo was a source of great worry to M-G-M.
Though she spoke English, she did so with a strong
Swedish accent. After anxious consideration, Metro
cast her in O'Neill's Anna Christie, where her accent
would be quite in keeping. The picture, directed by
Clarence Rrown, was a complete success, and Garbo
became, if possible, an even greater favorite with
the fans. She was ably seconded by Marie Dressier,
as Anna's hard-drinking friend. Miss Dressier had
come a long way from the days of Tillie's Punctured
Romance to become a serious actress of force and
skill.

224

THE TALKING PICTURE

Marie Dressier was by no means confined to serious
roles. M-G-M cast her in a series of slapstick senti-
mental comedies, costarring Wallace Beery, that
proved as effective box office as the offerings of other
more glamorous teams. One of the best was Mm and
Rill, from which the above scene is taken. George
Hill directed. The girl is Dorothy Jordan.

BELOW

Hill directed another Beery picture of 1930, The
Big House, from a scenario by Frances Marion about
an attempted prison break. Thanks to fine acting by
Beery and by Chester Morris (shown here with
Beery) and Robert Montgomery, the picture was
rated one of the best of the year.

JOURNEY'S END ( 1930 )

225

Miriam Hopkins made her screen debut in Fast and
Loose, an adaptation of a play by David Gray and
Avery Hopvvood. The story concerned a rich girl
who fell in love with a workingman, if you care.
Miss Hopkins is shown here in a scene with Charles
Starrett, with Frank Morgan and Carole Lombard
at the extreme left. Carole wasn't even mentioned in
the billing.

The success of All Quiet inspired Tiffany Pictures to
buy and produce R. C. Sherriff's equally fine Jou,-
nei/s End. Colin Clive, the original Captain Stan-
hope, came from England to repeat his performance
on the screen, and James Whale, who had directed
the play in London, directed the picture version as
well. Clive is shown here (right), with David Man-
ners ( extreme left ) .

226

THE TALKING PICTURE

Two other promising youngsters attracted consider-
able attention in 1930. They were Fredric March
and Claudette Colbert, both of whom had been in
pictures for about a year. Paramount remade Man-
slaughter, a former Thomas Meighan silent, and fea-
tured them in it.

ABOVE RIGHT

Nancy Carroll starred in Paramount's Stolen Heaven,
with Phillips Holmes, the son of the stage favorite,
Taylor Holmes, as her leading man.

BELOW

Warner Brothers, with Little Caesar, started that
cycle of gangster pictures that made "taken for a
ride," "on the spot," and a dozen other underworld
phrases such household words during die early thir-
ties. It was this picture, too, that started Edward G.
Robinson on his long career of tough-guy impersona-
tions. Little Caesar was directed by Mervyn Le Roy
from an adaptation of W. R. Burnett's novel. In this
scene are Robinson and Douglas Fairbanks, Jr.

MOROCCO ( 1930)

227

Ann Harding's long, authentically blonde hair, her
well-modulated voice, and her transparent sincerity
made her as popular in films as she had been on the
stage. She retired temporarily from the screen to
marry Werner Janssen, the orchestral conductor, but
recently returned. She is shown Jhere, with James
Rennie, in The Girl of the Golden West.

ABOVE BIGHT

The wave of musicals that had engulfed 1929 sub-
sided somewhat a year later, but the producers still
reckoned that there was gold in them thar trills.
The call went out for opera singers. Lawrence Tib-

bett went from the Metropolitan to make the suc-
cessful film, The Rogue Song. M-G-M then put him
in The New Moon, with Grace Moore (shown here).
Tibbett went on to greater popularity, but the pro-
ducers shook their heads over Miss Moore. She was
not, they said, photogenic. More of that, later.

BELOW

Marlene Dietrich's first American picture, Morocco,
made her a sensation. Josef von Sternberg directed,
as he did so many later Dietrich films. Gary Cooper
was starred opposite Dietrich in this Paramount
production.

228

THE TALKING PICTURE

The life of Abraham Lincoln has been the basis of
many pictures. One of the best was Abraham Lin-
coln, directed by D. W. Griffith in 1930 for United
Artists. Walter Huston played the title role, with
Una Merkel as Ann Rutledge.

BELOW

In Son of the Gods, Richard Barthelmess went back

to the Oriental atmosphere of Broken Blossoms. This
Warner Brothers production had elaborate sets and
intricate lighting that outreached even Hollywood's
usual extravagant standards. In this view of one of
the sets, Barthelmess and Constance Bennett are in
the immediate foreground.

'LILIOM (1930)

229

Another Barthelmess picture of 1930 was the suc-
cessful The Dawn Patrol, an aviation picture di-
rected by Howard Hawks. Here are Barthelmess
(left) and Douglas Fairbanks, Jr., in a scene from
the film.

ABOVE MGHT

From the musical-comedy stage came Dennis King,
in one of his former stage triumphs, The Vagabond
King. Just to make sure of its being a hit— which it
was— Paramount filmed it in technicolor, and co-

starred him with Jeanette MacDonald.

BELOW

In photography, the impossible is so simple to achieve
that most attempts at transferring phantasy to the
screen have left nothing to the onlooker's imagina-
tion. Fox's production of Liliom, with Charles Far-
rell and Rose Hobart, was painstaking and elaborate,
but it failed to capture the imaginative persuasive-
ness of the Theater Guild's original production.

230

THE TALKING PICTURE

Warners starred John Barrymore in a version of Mel-
\ ille's great novel, Moby Dick, notable for Barry-
more's extraordinary make-up and distinguished act-
ing. Barrymore had played this role in the silents,
the film then being called The Sea Beast.

BELOW

Howard Hughes sank well over a million dollars into
Hell's Angels, which he began as a silent film in 1927
and finally released in 1930. When sound came to stav,

he was obliged to scrap much of what had already
been shot and begin over again. Accidents and the
difficulty of retaining the services of his actors for
long periods of time were other handicaps that
Hughes had to face. He was determined, however,
to make this air thriller of thrillers, and eventually
he succeeded. The flying sequences (the airplanes
were the real stars of the picture) have seldom been
surpassed.

HELL'S ANGELS (1930)

231

Greta Nissen was originally cast as the vamp of
Hell's Angels, but either because of her accent or
because she was no longer available, she had to be
replaced. Jean Harlow, who had been playing minor
roles, was given her chance in the part and revealed
herself as a good actress and the embodiment of sex
appeal. With her in this scene is Ben Lyon.

BELOW

Fox brought John McCormack, the great Irish tenor,
to Hollywood and starred him in Song d My Heart,
released in 1930. You see him here. In the carriage
is Maureen O'Sullivan, whom the director, Frank
Borzage, had discovered in Dublin.

232

THE TALKING PICTURE

Another scene from Song o' My Heart, showing Me-
Cormack and lovely Alice Joyce, who played oppo-
site him. This was the only picture he ever made.
His own explanation tor the shortness of his screen
career was, "They said I had no sex appeal."

ABOVE BIGHT

It was inevitable that, sooner or later, Jackie Coogan,
whose performance in Chaplin's The Kid had made
him a child star, should grow up to play America's
legendary boy character, Mark Twain's Tom Sawyer.

This he did, in a talking picture of 1930, ten years
after his screen debut. The girl with him, above, is
Mitzi Green.

BELOW

Elmer Rice's grim play, Street Scene, reached the
screen in 1931, in a faithful adaptation directed by
King Yidor. Sylvia Sidney played the role Erin
O'Brien Moore had created on the stage. This is the
set, a perfect reproduction of a shabby New York
street, on which most of the action took place.

A FREE SOUL ( 1931 )

233

M-G-M remade Eugene Walter's old play, The
Easiest Way, with Constance Bennett playing the
role that Frances Starr had created in the theater.
Anita Page played the honest, hard-working sister
( who wasn't in the original play ) , with Clark Gable,
a promising leading man, as her truck-driver hus-
band (who wasn't in the original plav). Here he is
ordering Constance Bennett out into the night with
her baby who wasn't in the original plav).

Norma Shearer had already embarked on a series of
sophisticated roles. One of her 1931 pictures was A
Free Soul, from the novel by Adela Rogers St. Johns,
in which the daughter of a brilliant criminal lawyer
falls in love with the gangster whom her father has
saved from the chair. Lionel Barrymore played the
father, and Clark Gable, shown here with Miss
Shearer, acted the gangster in a manner that estab-
lished him as a definite box-office draw.

234

THE TALKING PICTURE

Another of Norma Shearer's pictures was Noel Cow-
ard's brilliant, slightly bawdy, and roughhouse Pri-
vate Lives. She and Robert Montgomery took the
roles originally played by Coward and Gertrude
Lawrence.

BELOW

Douglas Fairbanks' 1931 picture was, surprisingly

enough, not a costume piece but a straight melodrama,
called Reaching for the Moon. This in no wise 'pre-
vented him from performing the characteristic Fair-
banks gymnastics and turning the decks of a" trans-
atlantic liner into a one-man track meet. He is shown
here in a moment of comparative repose. Jack Mul-
hall is on the left.

FRANKENSTEIN (1931)

235

Lon Chaney's death in 1930 robbed the public of a
great master of grotesque make-up. However, Chaney
had a successor in Boris Karloff (born Charles Ed-
ward Pratt), who chilled millions of spines with a

bloodcurdling performance as the monster in Frank-
enstein (1931). It was such a success that Universal
followed it with The Bride of Frankenstein (1935)
and The Son of Frankenstein (1939).

236

THE TALKING PICTURE

Someone once remarked that the present younger
generation is going to grow up with the firm con-
viction that all the great men of history looked like
George Arliss. In 1931 the distinguished actor con-
tinued his gallery of historical portraits with Alex-
ander Hamilton, with Doris Kenvon as his leading
lady.

Depressing as most persons find it, Tolstoy's novel
Resurrection has been adapted several times for the
screen. Dolores Del Rio made it as a silent in 1927,
with Rod La Rocque playing the male lead; and
Lupe Velez (of all people) remade it in 1931, with
John Boles. Here is Miss Velez in a production shot
from the 1931 version.

THE FRONT PAGE ( 1931 )

237

Garbo, still wisely sticking to roles in which her— by
now— slight accent was no handicap, made Inspira-
tion, adapted from Daudet's Saplw. Clarence Brown
directed, and Lewis Stone and Robert Montgomery
played the other leads. Garbo appears here, with
Stone, wearing one of the exotic gowns Adrian de-
signed for her.

ABOVE RIGHT

Motion pictures won a distinguished actor in 1930,

when Warner Brothers persuaded Otis Skinner to
play his original stage role in a screen adaptation of
Kismet.

BELOW

Hecht and MacArthur's rowdy epic of the news-
paper world, The Front Page, was a natural for the
screen. Howard Hughes produced it and Lewis Mile-
stone did the directing. Pat O'Brien, shown here,
made his first appearance in pictures, playing the
role of Hildy Johnson, the star reporter.

238

THE TALKING PICTURE

The authors made no secret of the fact that Walter
Burns, the loud-talking managing editor of the pic-
ture, was a fairlv faithful portrait of one of their old
bosses in Chicago. Adolphe Menjou, dropping his

usual man-of-the-wprld role, played the part to per-
fection. The combination of good story, fine acting,
and superb direction made the picture one of the
year's best.

A CONNECTICUT YANKEE (1931)

239

On page 115 you saw Harry Myers in a 1921 silent
version of Mark Twain's A Connecticut Yankee in
King Arthur's Court. Ten years later, Will Rogers
made it as a talkie, under the title A Connecticut
Yankee. This is the famous scene in which the Yan-
kee saves himself from the stake by predicting an

eclipse that occurred several hundred years before
lie was born. With Rogers is Frank Albertson.

BELOW

In 1931 Walt Disney made his first animated car-
toon in technicolor. It was called Floivers and Trees,
and it won an Academy award.

240

THE TALKING PICTURE

After long persuasion, that great stage couple, Al-
fred Lunt and Lynn Fontanne, reluctantly consented
to make die film version of Molnar's The Guards-
man. Despite the success of the picture, directed bv
Sidney Franklin, they never made another. Here are
Lunt and Fontanne, with Jessie Ralph.

BELOW

The filming of Trader Horn was Hollywood at its
tragicomic best. M-G-M sent an entire company and

crew to Africa, in order to ensure the authenticity
of the location shots; then, when the company re-
turned to America, reshot most of the scenes on the
M-G-M lot. The tragic phase of the episode was that
Edwina Booth, who played the role of the white
girl turned native priestess, contracted an obscure
tropical malady from which she never fully recov-
ered. Miss Booth appears here with Duncan Renaldo
and Harry Carey, who played the title role.

PUBLIC ENEMY ( 1931 )

241

The flood of gangster pictures continued. One of
the better ones was Public Enemy, in which James
Cagney demonstrated that one way to charm the
ladies in the audience is to be rough with the ladies
on the screen. Cagney is shown here, watching Eddie
Woods get his.

The success of Moana encouraged Paramount to re-
lease another South Sea island picture, Tabu, which
was directed by F. W. Murnau from a story by him-
self and Robert Flaherty. It was one of the most
glamorous and beautiful pictures ever made.

242

THE TALKING PICTURE

Jackie Cooper raised himself to stardom by his engag-
ing performance of a comic-strip character brought

to life— Percy Crosby's Skippy. Norman Taurog won
an Academy Award for his direction.

THE CHAMP (1931)

243

Beery also costarred with Jackie Cooper in a story,
by Frances Marion, about a drunken ex-champion
prize fighter who is regenerated by his little boy.
Entitled The Champ, it was one of the lachrymal
hits of 1931.

BELOW

Blonde Ann Harding, here gazing wistfully from
behind a tree, played in that aged tear-jerker, East
Lynne.

244

THE TALKING PICTURE

The Lunts were not tne only distinguished new-
comers from the theater in 1931. Irving Thalberg,
one of the M-G-M bosses, finally induced Helen
Hayes to give the screen a chance. Her first picture,
The Sin of Made! on Claudet, whose screen play was
written by her husband, Charles MacArthur, estab-
lished her as one of the screen's finest actresses and
won her the Academy of Motion Picture Arts and
Sciences award for the best performance of the year.

In this scene we have Jean Hersholt, Jackie Darrow,
Marie Prevost, and Miss Hayes.

BELOW

Helen Hayes' second film, Arrowsmith, established
her even more firmly as a star on screen as well as
on stage. Samuel Goldwyn produced this excellent
picturization of Sinclair Lewis' novel, and John Ford
did a superb job of directing. United Artists released
the film in 1931.

CITY LIGHTS (1931)

245

In 1931 Chaplin released his first picture since The
Circus. Naturally, there was much speculation about
whether he would talk, now that sound was here to
stay. But the great master of pantomime was in no
hurry to alter the technique that had made him
world-famous. The long-awaited picture was City
Lights, and the actors, including Chaplin, did not
speak. There was music on the sound track, how-
ever. The story concerned a derelict who falls in
love with a blind flower girl and goes through a
series of silly and pathetic adventures to raise the
money for the girl's rent and for an operation to
restore her sight. Virginia Cherrill, shown here with
Chaplin, played the flower girl.

ABOVE BIGHT

Some of the most diverting moments in the picture
were supplied by Chaplin and Harry Myers, the lat-
ter playing a man about town who is Charlie's bosom
friend when drunk but refuses to recognize him in
his sober moments.

BELOW

Under Wesley Ruggles' direction, RKO made a spec-
tacular and genuinely impressive picture out of Edna
Ferber's novel of the Oklahoma land rush, Cimar-
ron. This scene shows the homesteaders lined up for
the starting signal. In the foreground are Richard
Dix and Irene Dunne.

246

THE TALKING PICTURE

Cecil B. DeMille, feeling that it was about time for
him to be delivered of another spectacular picture,
produced The Sign of the Cross, a combination of
mob scenes, religion, sex, and movie stars that was
heralded as being "bigger than The Ten Command-
ments." The critics didn't care much for Nat Pen-
dleton's strolling through the picture, using Ameri-
can slang, but the public loved all of it, especially
the Christian-eating lions. In this scene we have

Fredric March, Elissa Landi, and, just behind her,
Nat Pendleton.

BELOW

A scene from The Sign of the Cross in the making.
Tommy Conlon ( the boy ) has been dragged from
his dungeon to be tortured; Nat Pendleton is hold-
ing him; and to the right of him, looking on, is Ian
Keith. DeMille is in the director's seat on the boom,
with the cameraman in front of him.

DR. J E K Y L L AND MR. HYDE (1932)

247

Plays began to reach the screen in increasing num-
bers. Dolores Del Rio made The Bird of Paradise for
RKO, an adaptation of the well-known play.

ABOVE BIGHT

Tallulah Bankhead, after a vain struggle to get her
acting talents recognized at home, went to England
and rapidly became one of the foremost attractions
of the London stage. Brought back by Paramount,
she made a number of films which— largely because
of miscasting and indifferent stories— were not suc-
cessful. She is shown here in one of her 1932 pic-

tures, Thunder Below, with Charles Bickford (left)
and Paul Lukas.

BELOW

Clowns traditionally want to play Hamlet. Occasion-
ally, too, a leading man forsakes glamour and takes
a fling at gooseflesh-raising. John Barrymore made a
silent Dr. Jekijll and Mr. Hijde, in 1920, that terri-
fied his fans, and in '32, Fredric March starred in
the same story, giving a performance that estab-
lished him as a first-rate actor and won him an
Academy award. Compare this shot of him with the
one on page 246.

248

THE TALKING PICTURE

Two of the most successful zanies on the screen are
Laurel and Hardy, whose short pictures have been
contributing to the hilarity of the movies since the
silent days. One of the best and most idiotic of their
melees was Brats, produced by Hal Roach.

Here is a famous team, George Sidney and Charles
Murray, in one of the Cohens and Kelhjs series,
which resulted from the earlier Abie's Irish Rose.
This one, Cohens and Kelhjs in Hollywood, was filmed
by Universal in 1932.

STRANGE INTERLUDE (1932)

249

Still another play to reach the screen that year was
Eugene O'Neill's Strange Interlude. It was no easy
job to compress a play that took five hours to per-
form into a film lasting about two, but M-G-M's
director, Robert Z. Leonard, managed it. He even
made the asides intelligible to the audience. Norma
Shearer played the lead, with Clark Gable, here kiss-
ing her hand, as the doctor.

■;»**aaa\

ABOVE RIGHT

In 1932 Garbo played the ill-fated international spy,
Mata Hari, in the M-G-M picture of the same name.
Ramon Novarro played opposite her.

BELOW

Another play filmed in 1932 was Philip Barry's The
Animal Kingdom. RKO made it, with Ann Harding
and Leslie Howard in the leading roles.

2C0

THE TALKING PICTURE

Rasputin and the Empress brought together the
three Barrymores, John, Ethel, and Lionel. Richard

Boleslavsky directed this famous trio for M-G-M in
1932.

MORNING GLORY (1932)

251

Katharine Hepburn first attracted Hollywood's atten-
tion when, an unknown and virtually inexperienced
actress, she scored an instantaneous hit in the stage
version of The Warrior's Husband. Brought West,
she disregarded all rules of the game, went about in
overalls and a hired Rolls Royce, snubbed her fellow
actors, sassed her director, refused to do the routine
publicity stunts, made an all-round nuisance of her-
self—and made an immediate success in A Bill of
Divorcement. RKO promptly starred her in Chris-
topher Strong and then in Morning Glory, a scene
from which is shown here, with Douglas Fairbanks,
Jr., as leading man. Hepburn received the Academy
award for her performance in Morning Glory.

BELOW

"Goodness, what beautiful diamonds!" exclaims one
of the characters in Night After Night. To which
Miss West remarks, "Goodness had nothing to do
with it, dearie." Miss West, after a tumultuous stage
career as author, director, producer, and actress, in
the course of which she managed to land a jail sen-
tence, went on to triumph in her first picture, play-
ing but a small part. She appears here, in a scene
from the picture, with George Raft. The two women
at the table in the foreground are Alison Skipworth
(left) and Constance Cummings.

252

THE TALKING PICTURE

In 1932 came the film that reintroduced the musical
craze, Forty-second Street. This was the old story of
the star who breaks an ankle and the unknown must
take her place, but the acting was good, the direc-
tion swift, and the production numbers were lush.
Lloyd Bacon directed for Warner Brothers. The man
with the handkerchief, in the scene above, is War-
ner Baxter. The girl second from left is Ruby Keeler,
who played the unknown. The girl who was to start

a different sort of musical cycle was featured in a
small part. She's fifth from the right— Ginger Rogers.

BELOW

Paid Muni has long been one of the most expert
character actors on the screen. One of his early
successes was / Am a Fugitive from a Chain Gang,
which Mervyn Le Roy directed in 1932. This War-
ner Brothers picture was also notable for handling
a socially vital theme intelligently and movingly.

ONE-WAY PASSAGE (1932)

253

Warner Brothers also produced one of die screen's
best love stories in 1932— One-Way Passage. William
Powell and Kay Francis played the lovers, under
Tay Garnett's sensitive direction.

BELOW

One of the most ambitious productions of the year,

M-G-M's adaptation of Vicki Baum's Grand Hotel,
enlisted the talents of a group of Hollywood's big-
gest stars. Shown here are Joan Crawford, as the
stenographer, Wallace Beery, as the industrial mag-
nate, and Lionel Barrymore, as the man who has
only a few months left to live.

254

THE TALKING PICTURE

And here we have John Barrymore, as the titled
jewel thief, with Greta Garbo, as the ballerina whose
career is ending. Some said that it was a mistake
for Garbo to accept such an unglamorous part. Her
answer was to play it superbly.

Irene Dunne's work in Cimarron had established her
as an exceptionally talented actress. Universal starred
her the following year in Back Street, based on a
Fanny Hurst story. John M. Stahl directed. In the
scene above, George Meeker is with Miss Dunne.

SHANGHAI EXPRESS (1932)

255

Marlene Dietrich appeared in Shanghai Express,
which Josef von Sternberg directed for Paramount.
Despite its authentic-looking settings and beautiful
photography, the Chinese considered it a misrepre-
sentation of Chinese customs. Miss Dietrich is seen
here in a scene with Warner Oland and Clive Brook.

BELOW

Edgar Rice Burrough's character Tarzan made the
sound films with Tarzan the Ape Man. The title role

was played by Johnny Weissmuller, formerly a swim-
ming champion, who so succeeded in identifying
himself with Tarzan, in the minds of the younger
fans, that he could play nothing else. There have
been a number of sequels, and they have all been
popular. This scene from the first Tarzan shows
Maureen O'Sullivan (destined to become the mate of
the simian-reared hero), Neil Hamilton, and Johnny
Weissmuller.

256

THE TALKING PICTURE

About as handsome a trio as you'd care to meet were
Kay Francis, Herbert Marshall, and Miriam Hopkins,
as they appeared in the sophisticated comedy, Trou-
ble in Paradise. Ernst Lubitsch directed it for Para-
mount in 1932.

BELOW

Founded in 1927, with its membership comprising
producers, directors, actors, writers, technicians, and
executives, the Academy of Motion Picture Arts and
Sciences presents series of annual awards for distin-
guished achievement in the motion-picture field. The
bronze statuettes, or "Oscars," as they are irrever-
ently called, that symbolize the awards are highly

prized not only in themselves, but also because an
Oscar is a very handy thing to have around when
discussing salaries and contracts. This picture, taken
at the Academy dinner of 1932, shows the three ma-
jor award winners of the year. At the left is Frank
Borzage, who won the prize for the best direction
for Bad Girl. Helen Hayes won the award for the
best performance by an actress for The Sin of Made-
Ion Claudet, while Fredric March received the cor-
responding award for actors for Dr. Jekyll and Mr.
Hyde. At the time this picture was taken, Miss
Hayes was working in A Farewell to Arms, under
Borzage's direction.

A FAREWELL TO ARMS (1932)

257

The screen version of Ernest Hemingway's novel A
Farewell to Arms was as successful as the stage
adaptation had been. Credit for its faithful picturiza-
tion goes both to the principals and to its director,
Frank Borzage. Shown above are Gary Cooper as
Frederic Henry, Helen Hayes as Catherine Barkley,
and Adolphe Menjou as Lieutenant Rinaldi. All three
gave superb performances. It was produced by Para-
mount in 1932.

BELOW

Jesse L. Lasky left Paramount in 1932 to join forces
with Fox. Here he produced a number of pictures
that were a credit to his taste. The first, Zoo in
Budapest, released in 1933, with Loretta Young and
Gene Raymond, was particularly notable for some
beautiful photography by Lee Garmes,

258

THE TALKING PICTURE

More than a dozen screen writers and more than
half a dozen directors, including Ernst Lubitsch,
Norman Taurog, Norman McLeod, and James Cruze,
worked at concocting If I Had a Million. Paramount
produced it in 1932, with an all-star cast that in-
cluded Gary Cooper, George Raft, Charles Laugh-
ton, Mary Boland, Jack Oakie, and W. C. Fields. It
was something of a hodge-podge, and ushered in no
new era in picture-making, but it was undeniably
entertaining. In the scene above, Mr. Fields, abetted

by Alison Skipworth, is realizing his lifetime dream
of wrecking cars driven by road hogs.

BELOW

In bringing Noel Coward's Design for Living to the
screen, Ernst Lubitsch contrived the difficult feat of
steering the tale— that of a lady who loves two gen-
tlemen simultaneously— past the censors and still
preserving much of its original ribald humor. Here
are the three principals, as interpreted by Gary
Cooper, Miriam Hopkins, and Fredric March.

LADY FOR A DAY ( 1933 )

259

Frank Capra is one of a handful of motion-picture
directors whose names on the marquee of a theater
mean something to the moviegoer. He started as an
odd-job man with Christie comedies, worked for
Columbia, became a Hal Roach gagman, and directed
Harry Langdon pictures. At Columbia he finally hit
his stride to become one of Hollywood's most suc-
cessful directors. One of his pictures filmed in 1932
was The Bitter Tea of General Yen, in which Bar-
bara Stanwyck and Nils Asther, shown here, were
the love interest.

BELOW

Frank Capra is famous for directing a picture with
such charm and humor that the audience hasn't time
to notice the holes in the story. His first big success,
Lady for a Day, came out in 1933. It featured May
Robson as Apple Annie, shown here collapsing on
discovering that her daughter is on the way to Amer-
ica. The story was adapted by Robert Riskin from
an original Damon Runyon yarn.

260

THE TALKING PICTURE

M-G-M filmed Dinner at Eight, from the play by
Edna Ferber and George S. Kaufman. George Cukor
directed an all-star cast, including John and Lionel
Barrymore, Marie Dressier, who was miscast, Wal-
lace Beery, Jean Harlow, Edmund Lowe, and Billie
Burke. Critics were agreed that Beery and Harlow
—here shown— turned in the best performances.

BELOW

Ernest B. Shoedsack and Merian C. Cooper, the

producers of the unusual documentary picture,
Grass, collaborated in 1933 to direct another that
was equally spectacular, though in a very different
way. This was King Kong, the story of a colossal,
gorillalike creature who causes an enormous amount
of trouble before he is finally cornered on top the
Empire State Building. King Kong remains a master-
piece of miniature work and trick photography.

THE INVISIBLE MAN (19 3 3)

261

Another Lasky production of 1933 was an adapta-
tion of die stage success, The Warrior's Husband.
Elissa Landi, shown here with Marjorie Rambeau
(left), played the role originally acted by Katharine
Hepburn.

ABOVE RIGHT

David O. Selznick produced Dancing Lady, a story
of backstage life, for M-G-M in 1933, starring Joan

Crawford, with Clark Gable and Franchot Tone. Fred
Astaire and Nelson Eddy played insignificant sup-
porting parts. Miss Crawford is shown here as a
burlesque beautv.

BELOW

H. G. Wells' fantastic novelette, The Invisible Man,
finally reached the screen, with Claude Rains, shown
here, playing the title role. James Whale directed.

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262

THE TALKING PICTURE

Greta Garbo, who had returned to her native Swe-
den for a vacation, talked of retiring from pictures.
She returned, however, in 1933, to find M-G-M
waiting for her with Queen Christina, a script based
on the life of the famous ruler. Her leading man
was John Gilbert. Rouben Mamoulian directed.

In 1933 the girl who had been briefly featured in
Forty-second Street (see p. 252) was promoted to be
Fred Astaire's dancing partner in Flying Down to
Rio. So began the career of the screen's most famous
dance team. Here are Fred and Ginger in one of
their cozier moments. Thornton Freeland directed
the picture for RKO.

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TUGBOAT ANNIE ( 1933)

263

The success of Wallace Beery and Marie Dressier and received a warm welcome from the fans. This
in Min and Bill made a follow-up to that picture was one of the last pictures Miss Dressier made. She
inevitable. It emerged in 1933, as Tugboat Annie, died in 1934.

264

THE TALKING PICTURE

Another Lasky production of 1933 was The Power
and the Glory, in which lie starred Colleen Moore
and Spencer Tracy.

ABOVE BIGHT

W. C. Fields had become famous as a tramp juggler
and pantomimist first in vaudeville, then with the
Ziegfeld Follies, when Poppy, a musical comedy in
which he appeared with Madge Kennedy in 1923,
revealed that he had not only a speaking voice, but
also an unerring gift for delivering comic lines.
When talkies came to Hollywood, so did Fields. We

see him here in International House, which Edward
Sutherland directed for Paramount in 1933.

BELOW

Mitchell Leisen began His picture career as a de-
signer and then as art director for Cecil B. DeMille,
a post he held for twelve years before becoming a
director on his own. His first picture was Cradle
Song, for Paramount. It featured Dorothea Wieck,
who had been brought to Hollywood as a result of
her touching performance in Madchen in Uniform.
She is shown here.

LITTLE WOMEN (1933)

265

Louisa May Alcott's classic, Little Women, was
screened in 1933, under George Cukor's direction.
Here are die feminine members of die cast (left to
right): Jean Parker (Beth), Joan Bennett (Amy),

Katharine Hepburn (Jo), and Frances Dee (Meg).
Spring Byington, as dieir mother, is seated in the
center of the group.

266

THE TALKING PICTURE

Paramount brought Alice in Wonderland to the
screen in 1933, with an all-star cast that included
Gary Cooper, Cary Grant, Charles Ruggles, Jack
Oakie, Richard Arlen, Alison Skipworth, Edna May
Oliver, and, as Alice, Charlotte Henry. Norman Mc-
Leod directed. Despite all this array of talent, the
picture was disappointing. Everybody was masked
( the Plum Pudding, shown above, is a good exam-
ple), so that the actors had only their voices to rely
on, and the whole production was heavily literal
and left nothing to the imagination.

ABOVE RIGHT

Eugene O'Neill's fine play, The Emperor Jones, has

also been produced in an operatic version composed
by Louis Gruenberg and as a picture. The film was
directed by Dudley Murphy and released by United
Artists in 1933. It starred Paul Robeson.

BELOW

Mae West's first picture, Night After Night, had
made her a star. Her second, based on her own
play, Diamond Lil, and rechristened by Paramount
She Done Him Wrong, was far more successful.
Lowell Sherman directed it, and Gilbert Roland,
here being compromised, played one of the leads.
It was in this picture that Miss West delivered that
immortal line: "Come up and see me sometime."

NANA ( 1933)

267

Mary Pickford produced Secrets, a heart-throb story
of pioneer days, for United Artists in 1933. Seated
with Mary is Leslie Howard.

BELOW

That same year, Samuel Goldwyn unveiled a new
Russian actress, Anna Sten, who, he thought, was
going to become another Banky, Garbo, or Dietrich.

She was undeniaoly beautiful, as eloquently evi-
denced by the scene below with Lionel Atwill, but
her acting was hardly expert, and her all-too-Rus-
sian accent was better suited to comedy than to
tragedy. Her first American picture, an adaptation
of Zola's Nana, didn't help much, either, being slow
and on the dull side. Dorothy Arzner directed.

268

THE TALKING PICTURE

Walt Disney won another Academy award in 1933
with Three Little Pigs, still one of the most popular
cartoon shorts ever made. It is a source of regret
that the third little pig cannot be shown here. He is
busy elsewhere, building a wolf-proof house.

Speaking of love interest, Marlene Dietrich played

in an adaptation of Sudermann's The Song of Songs,
under Rouben Mamoulian's direction. Others in the
cast were Brian Aherne, playing his first picture
lead, and Alison Skipworth, shown here. A life-size
statue of the star, in the nude, was featured in the
picture, and reproductions of it were displayed in a
great many theaters showing the film. Still, the pic-
ture was not successful.

VOLTAIRE ( 1933 )

269

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George Arliss added another celebrity to his list of
characterizations with a picture entitled Voltaire.
With him in this scene are Margaret Lindsay and
Doris Kenyon.

Frisco Jenny, starring Ruth Chatterton, was a story
of mother love, with the San Francisco earthquake
thrown in for good measure. Here is a scene from
the picture, showing the earthquake— or was it fire?

270

THE TALKING PICTURE

RKO's production of W. Somerset Maugham's Of
Human Bondage, in 1934, starred Leslie Howard,
but it made a star out of Bette Davis. As the schem-

ing waitress, Miss Davis gave a memorable per-
formance that established her as one of the most
talented of the younger Hollywood actresses.

IT HAPPENED ONE NIGHT (1934)

271

iws-j

Richard Barthelmess forsook his customary roman-
tic roles to play in a Western melodrama about In-
dians and the wrongs done them by unscrupulous
government agents, Massacre. He is shown here in
the trial scene, with Dudley Digges as the prosecu-
tor. The girl is Ann Dvorak.

BELOW

In 1934 came the immortal It Happened One Niglit,
directed by Frank Capra for Columbia. Its two ro-

mantic stars, Claudette Colbert and Clark Gable,
turned in comic performances that won them Acad-
emy awards for the best performances by actress
and actor. The picture itself won the award as the
outstanding production of the year; Capra won the
award for his direction; and Robert Riskin won the
award for the year's best screen play. Here are
Miss Colbert and Gable in the famous auto-camp
scene.

272

THE TALKING PICTURE

Clarence Brown directed Chained for M-G-M in
1934. It featured a popular trio— Otto Kruger, Joan
Crawford, and Clark Gable.

Here are Jean Harlow and Franchot Tone in a scene
from Girl from Missouri, made by M-G-M in 1934.
Miss Harlow's untimely death in 1937 cut short an
acting career of unusual promise.

THE THIN MAN (1934)

273

Dashiell Hammett's detective novel, The Thin Man,
was a leading best seller and, naturally, had most of
the studios bidding for it. M-G-M finally got it and
entrusted the film version to Myrna Loy and William
Powell, with Hunt Stromberg producing and W. S.
Van Dyke directing. Its instantaneous success, how-
ever, exceeded the wildest speculations of its spon-
sors. The idea of treating a murder mystery in terms
of high comedy was fresh and appealed to a public
that was weary of conventional whodunits. More-
oxer, to a movie audience that had been brought up
to see marriage, in the films, an an ordeal, the sight
of two ultra-smart, sophisticated people very much
married and very much in love was reassuring and
oddly moving. In this scene, Powell is comforting

Maureen O'SuIlivan, with the cynical Miss Loy los-
ing no detail of the tender episode.

BELOW

The Thin Man, besides producing such sequels as
After the Thin Man and Another Tliin Man, boosted
the reputations of its two stars. Myrna Loy, after a
career that had consisted largely of a dreary succes-
sion of Oriental seductresses, revealed herself as an
irresistibly adroit comedienne. William Powell, who
had been known chiefly as a heavy, emerged as the
perfect type of polished, urbane man of the world.
In this group are Miss Loy, Miss O'SuIlivan, Henry
Wadsworth, and Powell, to say nothing of Asta, the
scene-stealing wire-haired, whose reputation was
also established bv The Thin Man.

274

THE TALKING PICTURE

Gloria Swanson temporarily gave up the drama to
appear in a Fox edition of the musical-comedy suc-
cess, Music in the Air. In this scene are June Vlasek
(later, and more pronounceably, June Lang), Doug-
lass Montgomery, Al Shean, and Miss Swanson.

BELOW

The couple eving each other in apparent consterna-

tion are Jeanette MacDonald and Maurice Cheva-
lier as they appeared in Ernst Lubitsch's produc-
tion of The Merry Widow, made by M-G-M in
1934. The picture was so expensive that only a box-
office miracle could have made it profitable. The
miracle did not occur.

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THE ORPHANS' BENEFIT (19 3 4)

275

Though she had appeared in pictures earlier, Shirley
Temple first gained attention in a Fox revue of 1934,
Sfana Up and Cheer, which featured Warner Baxter,
Madge Evans, and James Dunn. Miss Temple ap-
pears here with Dunn. Her next picture, Little Miss
Marker, released the same year, definitely established
her as a box-office draw.

VBOVE RIGHT

The greatest tear-jerker of 1934 was Fannie Hurst's
Imitation of Life, starring Claudette Colbert and

featuring Louise Beavers. John M. Stahl directed for
Universal.

BELOW

The year 1934 was memorable for the unheralded
debut of one who was destined to become a world-
famous star. His name is Donald Duck, and he made
his first appearance playing a small part in Walt
Disney's The Orphans' Benefit. As this picture shows,
the old master of the squawk looked different in
those days.

276

THE TALKING PICTURE

Will Rogers was another screen favorite whose screen
career was nearing an untimely close. This scene,
with Stepin Fetchit, is from Judge Priest, a picture
made in 1934, based on Irvin S. Cobb's well-known
series of short stories. Rogers, with the aviator Wiley
Post, wus killed in a plane crash the following year.

John Ford directed an all-male cast in The Lost
Patrol. The film featured taut direction and a num-
ber of fine performances, especially by Reginald
Denny and Victor McLaglen. In the above scene are
McLaglen, Roris Karloff, not a monster this time,
but a religious fanatic, and Wallace Ford. RKO pro-
duced it in 1934.

THE BARRETTS OF WIMPOLE STREET (1934

277

Metro brought Katharine Cornell's stage success,
The Barretts of W impale Street, to the screen in
1934. Frcdric March played the poet Browning,
Norma Shearer, Elizabeth Barrett, and Charles
Laughton, her father. Sidney Franklin handled the
direction.

Jesse L. Lasky, producing for Fox, turned out an
excellent screen version of John L. Balderston's
play, Berkeley Square, directed by Frank Lloyd,
with Leslie Howard playing the role he had created
on the stage. Howard is shown here, with Valerie
Taylor and Heather Angel.

278

THE TALKING PICTURE

As has been noted, when Lawrence Tibbett and
Grace Moore appeared together in The New Moon,
Tibbett was an immediate success, while Miss Moore
was not. Columbia cast her in a story about the
operatic stage, One Niglit of Love, of which little
was expected. The picture was an instant hit and
made a star of Miss Moore. Tullio Carminati, shown
in this scene with the star, also scored a success

with his performance as her romantic singing teacher.

BELOW

Madame Du Barry was an elaborate and lavish
chronicle of the life and adventures of the famous j
courtesan, with Dolores Del Rio in die title role.!
This production still shows a group of technicians
studying the lighting of one of die boudoir scenes.

ONE NIGHT OF LOVE (1934)

279

On page 10 we showed you a photograph of Wil-
cox Avenue, Hollywood, looking toward Hollywood
Boulevard, as it appeared in the 90's. Here is an
airplane view of that same spot as it appeared in
1935. Wilcox Avenue is the first cross thoroughfare
at the bottom of the picture, with Hollywood Boule-
vard cutting a perpendicular line almost exactly
down the center. Although most of the important
studios have moved to less thickly populated dis-
tricts, the name Hollywood still means motion pic-
tures the world over. It is a geographical curiosity in

that it has no official existence, being merely a com-
paratively small district of the sprawling city of
Los Angeles.

BELOW

Hollywood's first nights were world-famous, and the
most spectacular of all occurred at Grauman's Chi-
nese Theater, on Hollywood Boulevard. Here is a
night shot of a typical premiere at the Chinese. No-
tice the lights of the long line of cars on their way
to the entrance, the cordon of police, and the crowd
awaiting the arrival of the screen stars.

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280

THE TALKING PICTURE

The year 1935 saw the first feature-length picture
to be made entirely in the newly developed three-
color technicolor process. This was Becky Sharp,
a screen version of Thackeray's Vanity Fair, with
Miriam Hopkins in the title role. This view, taken
during the filming of the picture, shows Becky
together with Rawdon Crawley. The technicolor
camera is in the center— much bulkier than the
ordinary black-and-white camera, since it exposes
three negatives simultaneously. In the right fore-
ground is the sound engineer, who keeps the "level"

of the dialogue uniform as it is transmitted to the
sound booth. Rouben Mamoulian, the director, wear-
ing glasses, is seated in the center, clasping his
hands.

BELOW

Marlene Dietrich appeared in The Devil Is a Woman,
with the screen play by John Dos Passos, and it was
not a success. Here is Miss Dietrich with Lionel
Atwill. This was the last picture of the Dietrich-von
Sternberg combination made for Paramount.

DAVID COPPERFIELD (1935)

281

One of the best pictures of the year was M-G-M's
David Copperfield, produced by David Selznick. Un-
der George Cukor's direction, it held strictlv to the
Dickens story, with admirable results. Frank Lawton
played the grown-up David; Edna May Oliver, Bet-
sey Trotwood; Lionel Barrymore, Peggottv; and

Basil Rathbone, Mr. Murdstone. The child David
was played by a newly discovered youngster of
great talent, Freddie Bartholomew, while W. C.
Fields contributed a fine portrait of Wilkins Micaw-
ber. The last two are shown here.

282

THE TALKING PICTURE

Another good performance in the picture was that
of Roland Young as Uriah Heep, a characterization
that proved him to be an expert villain as well as
an adroit comedian.

ABOVE BIGHT

Since Hearts of the World, Noel Coward had not
appeared in an American picture until Ben Hecht
and Charles Mac-Arthur induced him to join forces
with them in a film they wrote, directed, and pro-

duced— The Scoundrel. It turned out to be the year's
artistic success. Here are Coward and Julie Haydon.

BELOW

One of the thrillers of the year was Paramount's
The Lives of a Bengal Lancer, based on the auto-
biography of Yeats-Brown. Henry Hathaway directed
the film in a masterfully tense fashion. In this scene
are Kathleen Burke, Cary Cooper, Lionel Atwill,
Franchot Tone, and Richard Cromwell.

MUTINY ON THE BOUNTY (1935)
T

283

Frank Lloyd directed the exciting Mutiny on the
Bounty for M-G-M, with a cast that included Charles
Laughton, Clark Gable, Franchot Tone, and Dudley
Digges. It won the Academy award for the best
production of the 1934—35 season. In this scene, the
central figures are Gable, Digges, and Laughton.

In a totally different vein was Laughton's perform-
ance, as the valet won in a poker game, in Ruggles
of Red Gap, which Leo McCarey directed for Para-
mount. The front-row players shown here are
Laughton, Zasu Pitts, Roland Young, Charles Rug-
gles, and Leila Hyams.

284

THE TALKING PICTURE

Liam O'Flaherty's novel The Informer was filmed by
RKO in 1935, and won Victor McLaglen the award
for the best male performance of that year. Not
only the acting was superb, but also the direction,

for which John Ford was responsible. Here are Joe
Sawyer, Una O'Connor, Heather Angel, and Mc-
Laglen in a scene from the picture.

CAPTAIN BLOOD (1935)

285

Private Worlds, made by Paramount, dealt with
mental derangement and psychiatrical therapy and
handled this difficult theme with skill and sympa-
thy. Gregory LaCava directed this Walter Wanger
production. Above are Charles Boyer and Claudette
Colbert in a scene from the film. Joan Bennett also
gave a memorable performance.

•\BOVE RIGHT

Ginger Rogers had gone to Hollywood after scoring
a hit in George Gershwin's Girl Crazy. There, after
various roles, she was teamed as a dancer with Fred

Astaire, whose sister-partner, Adele, had deserted
her career to marry into the British peerage. The
two speedily became the most popular dance team
in pictures. This shot is from Top Hat.

BELOW

Another spectacular sea picture of the year was a
screen version of Rafael Sabatini's Captain Blood,
produced by Cosmopolitan-First National and fea-
turing Errol Flynn and Olivia de Havilland. As this
shot indicates, it was a boon to the extras.

286

THE TALKING PICTURE

Ronald Colman had one of his most congenial and
successful roles as Sydney Carton in the 1935 screen
version of A Tale of Two Cities. In this scene,
Carton is descending from the tumbril on his way to
the guillotine. The girl is Isabel Jewell.

The picture was notable for the size and historical
fidelity of its sets. Here is one of the film's most
impressive sequences, the storming of the Bastille,
as reconstructed by M-G-M.

THE STORY OFLOUIS PASTEUR (1935)

287

In 1927 Garbo had played Tolstoy's Anna Karenina,
with John Gilbert as her leading man— a silent pic-
ture, of course, and entitled Love. Eight years later
she remade Anna Karenina, this time with Fredric
March as Vronsky. Clarence Brown directed this
version for M-G-M.

BELOW

What is a "character actor"? He is an actor who
:an step completely out of his own personality to
Decome, for the moment, a completely different per-

son. He may be good or bad. He may be a ham, or
he may be a great actor. Paul Muni is a character
actor, and a first-rate one. In 1935 he made what
was, at the time, a daring experiment— The Story of
Louis Pasteur, the life of the great scientist with no
concessions to the supposedly indispensable "love
interest." The picture won him an Academy award
and embarked him on a series of biographical pic-
tures. This scene, with Dickie Moore, will give you
an idea of his realistic make-up.

288

THE TALKING PICTURE

Samuel Goldwyn produced The Dark Angel in 1935
and starred Merle Oberon, Herbert Marshall, and
Fredric March in it.

BELOW

In the summer of 1934 Max Reinhardt staged a spec-
tacular production of A Midsummer Night's Dream
in the Hollywood Bowl. The great Max had never
considered the films, but confessed that he found
them "interesting." It was no surprise to the know-

ing ones, therefore, when he agreed to collaborate
with William Dieterle in a screen version of the
play, for the Warner Brothers. The cast was large,
the ballet was trained by Bronislava Nijinska, Erich
Korngold wrote the music, and Hal Mohr did the
photography, all of which cost well over a million
dollars. Unfortunately, the public was not amused.
Here is a scene from it, with James Cagney, as
Bottom, holding the stage.

MODERN TIMES (1936)

289

By this time, Shirley Temple was a veteran picture
star, with a following of faithful admirers that num-
bered millions. The child's uncanny charm was ad-
mirably exploited in The Little Colonel, made in
1935. This is the famous scene where she dances
downstairs with the great hoofer, Bill "Bojangles"
Robinson.

BELOW

Came 1936, and with it the first Chaplin picture in
five years. Again Charlie stuck to his guns and pre-
sented a picture in which— except for one sequence
of unintelligible jargon-he and the rest of the cast
remained silent. For a lesser artist the risk might

have been fatal, but to his fans Chaplin could do
no wrong. Modern Times was a tremendous suc-
cess. This scene gives a good idea of the weird set-
tings for this machine-age picture. The figure at the
left is Chaplin's old coworker from the Mack Sen-
nett days, Chester Conklin.

ABOVE RIGHT

The plot utilized the basic Chaplin formula-the
picked-on little man befriending a waif who is worse
off than he. This time the waif was Paulette God-
dard, a newcomer to pictures and' one of his dis-
coveries. Here is Miss Goddard in one of the dance-
hall sequences.

290

THE TALKING PICTURE

King Vidor directed, produced, and collaborated on
the story of Texas Rangers for Paramount. Basically,
it was a horse opera, but done on a grand scale that
raised it above the level of the ordinary Western. As
this shot of the company on location indicates, some
of the credit for the picture's success should go to
nature's well-designed settings.

BELOW

An important Thalberg production of 1936 was

Romeo and Juliet. Having planned it as a vehicle for
his wife, Norma Shearer, he gave it a magnificent
production with a cast that included, besides Miss
Shearer as Juliet, Leslie Howard as Romeo, Basil
Rathbone as Tybalt, John Barrymore as Mercutio,
and Edna May Oliver as the nurse. Incidentally,
Miss Shearer surprised many of the prophets by giv-
ing a skilled and sensitive performance.

ROMEO AND JULIET (1936)

291

The production was notable for the historical accu-
racy of its settings and costumes, for Thalberg had
sent research men to Italy to verify every detail of
architecture and clothing. Shown here is the square
in Verona where Mercutio and Tybalt are killed.

BELOW

In Mr. Deeds Goes to Town, Gary Cooper, relieved

of the necessity of playing the strong, silent man,
went to town on his own hook and revealed him-
self as an engaging and talented comedian. Frank
Capra directed the picture brilliantly from a script
by Robert Riskin. This picture contributed the word
"pixilated" to the language; and here is Mr. Deeds
talking to the two old ladies who invented it.

292

THE TALKING PICTURE

Spencer Tracy, under Fritz Lang's direction, gave a
fine performance in Fun/, an uncompromising study
of mob madness that had many a thrilling moment.
This is one of them, where the mob tries to break
into the jail in order to lynch one of the inmates.
Failing to get its intended victim, the mob burns
down the jail.

One of the best comedies in recent years was My
Man Godfrey, which Gregory LaCava produced
and directed for Universal in 1936. William Powell
gave a polished performance, while Carole Lombard
turned out to be one of the best zanies on the
screen. In this scene we have Eugene Pallette, Miss
Lombard, Alice Bradv, and Mischa Auer.

ONE HUNDRED MEN AND A GIRL (1936)

293

[n Three Smart Girls, a hitherto unknown youngster
>amed Deanna Durbin leaped into instant popular-
ty. Universal promptly featured her in One Hun-
ired Men and a Girl, with Leopold Stokowski. It
nade a star of her, and she became one of Univer-
ial's biggest money-makers. Thanks to exceptionally

intelligent handling by her producer, Joseph Paster-
nak, and her director, Henry Koster, she appeared
in a series of pictures that took her through the
difficult years of adolescence with undiminished
popularity.

294

THE TALKING PICTUR1

Lloyds of London made a star of Tvrone Power
overnight. Henry King directed this historical film
for Twentieth Century-Fox in 1936. Heading the
cast were Freddie Bartholomew, Madeleine Carroll,
and Power.

BELOW

Universal remade the Edna Ferber-Terome Kern mu-

sical Show Boat in 1936 and did a splendid job
James Whale, taking time out from horror pictures
directed it. Here are Irene Dunne, as Magnolia
Allan Jones, as Gaylord, Charles Winninger, as Cap
tain Andy, and Helen Westley, as Mrs. Hawk;
Helen Morgan, not shown, repeated her stage role

THE GREEN PASTURES (1936)

295

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From a volume of short stories by Roark Bradford,
Marc Connelly fashioned the play The Green Pas-
tures, which ran for years in New York and on the
road. The film version, produced by Warners and
directed by Connelly and William Keighlev, was
almost as successful. Here is a view of the fish fry
in heaven in the making. Notice the battery of sun-
light arcs, the studio cop in the background, the

interested audience in the foreground, and the cam-
era, on a boom, in the middle distance toward the
left.

BELOW

Two years after their initial triumph in The Tliin
Man, Myrna Loy, William Powell, and Asta ap-
peared in its successor, After the Thin Man. For
once, the sequel was up to the original.

■HOI

296

THE TALKING PICTURE

It took courage for Columbia to transfer George
Kelly's Pulitzer Prize play, Craig's Wife, to the
screen, for the theme— that it is no virtue to be too
good a housekeeper— ran contrary to the best movie
traditions. Although nothing like a smash hit, the
picture fared encouragingly well, thanks to an un-
compromisingly honest performance by Rosalind
Russell and to fine direction by one of Hollywood's
few women directors, Dorothy Arzner. Here is Miss
Russell with Jane Darwell.

BELOW

San Francisco, produced by M-G-M in 1936, was
easily one of the biggest thrillers in years. The cast
included Clark Gable, Spencer Tracy, Jeanette Mac-
Donald, and Jack Holt, with W. S. Van Dyke direct-
ing. This shot is from the twenty-minute earthquake
sequence, one of the most exciting ever created for
the screen.

THE PETRIFIED FOREST (1936)

297

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Robert E. Sherwood's The Petrified Forest was trans-
ferred to the screen by Warner Brothers in 1936.
Archie Mayo directed the film in a slow but tense
style. The performances were also first-rate, espe-
cially Humphrey Bogart's. This was his first film,
and he played the character that he had created on
Broadway. In this scene are Charley Grapewin,
Genevieve Tobin, Leslie Howard, Bette Davis, then
well on her way to becoming Hollywood's most ac
claimed actress, Bogart, and Joe Sawyer.

BELOW LEFT

Another successful transference from stage to screen
was Sidney Howard's Dodswortli, from the Sinclair

Lewis novel. William Wyler handled the direction,
and Walter Huston, Mary Astor, and Ruth Chatter-
ton turned in excellent performances. United Artists
released this Goldwyn production in 1936. Below
are Huston and Miss Astor, who contributed one of
her best performances.

BELOW RIGHT

Despite a rather sickening advertising campaign,
"Garbo loves Robert Taylor in Camille," it was a
first-rate refilming of the old Dumas fih classic.
Garbo's performance was one of her best, and
George Cukor's direction one of his best. Metro re-
leased the film in 1936. Below, Garbo is loving
Tavlor.

298

THE TALKING PICTURE

The really super-production of 1936 was M-G-M's
screen biography of Florenz Ziegfeld, The Great
Ziegfeld. Robert Z. Leonard handled the massive
job of direction, and William Powell played the
name part, with Myrna Loy as Rillie Burke. Here
are Powell and Nat Pendleton, "Sandow the Great."

BELOW

When Anthony Hope wrote The Prisoner of Zciula,

the Edison Kinetoscope had just been exhibited to
the public. The two— the story and the moving
picture— were to meet many times in future years.
Ramon Novarro, for one, played it in 1922. In 1937
it reappeared on the screen, this time with Ronald
Colman in the title role, with Madeleine Carroll as
the heroine. John Cromwell directed it for Selznick.
This duel scene shows Douglas Fairbanks, Jr., and
Colman.

DEAD END ( 1937 )

299

With Victor Fleming directing, M-G-M produced a
film version of Rudyard Kipling's epic of New Eng-
land, Captains Courageous. Spencer Tracy won an
Academy award for his performance, while Freddie
Bartholomew proved that his success in David Cop-
perfield had been no accident. They are shown here,
with Lionel Barrymore handling the binoculars.

Sidney Kingsley's dramatic hit, Dead End, was
brought to the screen by Samuel Goldwyn in 1937,
with settings that were a faithful extension of Nor-
man Bel Geddes' original set. William Wyler was
the director. The Dead End kids, who had been
such a striking feature of the play, were brought
to Hollywood en masse. They appear in this scene
with (at the left) Joel McCrea and Wendy Barrie.

300

THE TALKING PICTURE

Another spectacular production, still one of the high
lights of motion-picture making, was M-G-M's
adaptation of Pearl Buck's novel of Chinese life,
The Good Earth. Irving Thalberg, the producing
head of M-G-M, sent a cameraman to China to make
background and atmosphere shots. Sidney Franklin
directed the picture, and Paul Muni as Wang, and
Luise Rainer as O-Lan, gave superb performances.

Altogether, The Good Earth was three years in the
making (the actual production took eleven months).
Thalberg never saw the completed film, for he died
before it was finished. The picture remains a monu-
ment to his taste and imagination. This scene shows
Wang and O-Lan in the wheat field, just before the
coming of the locusts.

LOST HORIZON ( 1937)

301

Columbia's Frank Capra made a beautiful and gen-
erally impressive picture from James Hilton's mod-
ern fairy tale, Lost Horizon. The cast was uniformly
good. In this scene are H. B. Warner, Ronald Col-
man, Thomas Mitchell, Isabel Jewell, and Edward
Everett Horton.

BELOW

Outstanding, both for acting and make-up, was Sam
Jaffe's performance as the two-hundred-year-old
High Lama. He is shown here with Ronald Colman.

302

THE TALKING PICTURE

In writing the screen play for A Star Is Born, Doro-
thy Parker, Alan Campbell, and Robert Carson dis-
proved the old movie superstition that the public is
not interested in stories of movie life. Expertly
directed by William A. Wellman, the film offered
a deeply moving performance by Fredric March as
the fading picture star whose career ends in drunk-
enness and suicide as his actress wife rises to star-

dom. March is at the extreme left in this scene.
Lionel Stander is at the bar.

BELOW

The picture was a triumph for Janet Gaynor. Prior
to its production there had been much gossip that
Miss Gaynor was "through." Her touching perform-
ance as the wife established her more firmly than
ever in the public's affections. Here she is talking
to the picture producer, played by Adolphe Menjou.

A DAY AT THE RACES (1937)

303

This is a scene from the film that started the Andy
Hardy plague, and here is Andy Hardy, played by
Mickey Rooney. The film was not called Andy
Hardy blank-blank, but A Family Affair. George B.
Seitz directed for M-G-M, and year was 1937. Inci-
dentally, Lionel Barrymore, not Lewis Stone, was
the first Judge Hardy.

Only a short while ago the Marx Brothers announced
their retirement from pictures, "anticipating a pub-
lic demand." Whether or not the retirement is per-
manent remains to be seen. Here are the three fa-
mous clowns in M-G-M's A Day at the Races. Left
to right: Harpo, Esther Muir, Groucho, and Chico.
Zeppo, originally the fourth Marx, quit the team
to become a motion-picture agent.

304

THE TALKING PICTURE

The same year saw the screen advent of Enilyn
Williams' psychopathological chiller, Night Must
Fall. Robert Montgomery, reprieved from an endless
succession of light-comedy roles, gave a perform-
ance of sinister power that stamped him as a superb
"straight" actor. Richard Thorpe directed the pic-
ture. In the scene above are Dame May Whitty,
Montgomery, and Rosalind Russell.

BELOW

The year was rich in comedy, producing at least
three pictures that are still fondly remembered and
frequently revived. One was The Awful Truth,
directed by Leo McCarey for Columbia, in which
Cary Grant (on top of sofa) and Irene Dunne (in
furs) gave splendid performances.

NOTHING SACRED (1937)

305

Another was Hal Roach's picturization of Thorne
Smith's Topper, in which Roland Young played the
title role. Constance Bennett, as a materialized ghost,
contributed admirably to the general hilarity. The
picture was directed by Norman McLeod and was
replete with camera tricks— doors that opened by
themselves; tools that changed tires; and, the best
trick of all, Miss Bennett's taking a shower while
she was invisible, with the water splashing off her
invisible body. In this scene Miss Bennett has just

materialized, to the dismay of Young
of Virginia Sales.

the horror

BELOW

Nothing Sacred was another of these comedies. Wil-
liam Wellman directed it, and Carole Lombard,
Fredric March, and Walter Connolly were the lead-
ing players. In this shot, Connolly is standing at the
back of Miss Lombard's chair, with Fredric March
scowling in the background.

306

THE TALKING PICTURE

Walt Disney won the Academy cartoon award in
1937 with The Old Mill, in which he first made use
of his "multiplane" camera, a device by which his
drawings take on a startlingly three-dimensional
character. The cartoon had no plot in the ordinary
sense of the word, but the charm of its details and
the beauty of the film as a whole made it irresist-
ible.

In The Life of Emile Zola, Paul Muni again played
a biographical role in a story that stuck largely to
facts and was devoid of the usual "love interest."
Again, as in the Pasteur picture, the experiment was
successful. Muni's make-up as Zola was amazingly
like the novelist's portraits, and his performance was
brilliant, rising to memorable heights in the trial
scene. Here are Muni and Gloria Holden.

THE LIFE OF EMILE ZOLA (1937)

307

William Dieterle directed Zola tor Warner Brothers
in 1937, and the film won the Academy award for
the best production of the year. Another striking
performance in the film was Joseph Schildkraut's
superb playing of the role of Dreyfus. He is shown
here after his reinstatement in the French army fol-
lowing Zola's successful campaign to clear him of
the charge of treason. The woman with him is Gale
Sondergaard, as Mine Dreyfus.

BELOW

George S. Kaufman's and Edna Ferber's play of
theatrical life, Stage Door, came to the screen with
Katharine Hepburn in the leading role. The picture
also gave Ginger Rogers a chance to show what she
could do with an important straight part not calling
for dancing ability. She is shown here with Miss
Hepburn and Adolphe Menjou.

308

THE TALKING PICTURE

By 1938 the Spanish Civil War was sufficiently
uppermost in the public mind to attract Hollywood's
attention. Walter Wanger produced Blockade, an
original screen play by John Howard Lawson, which
William Dieterle directed. It was a noble attempt,
for the Civil War was a delicate subject, and not
only to Hollywood. Henry Fonda and Madeleine
Carroll, shown here, were the principals.

BELOW

Jackie Coogan had done Tom Sawyer in 1930. Eight
years later, David O. Selznick introduced another
Tom to the screen public, in The Adventures of Tom
Sawyer, in the person of Tommy Kelly, a newcomer
who endeared himself at once. Here are Mary
( Marcia Mae Jones), Aunt Polly (May Robson),
and Tom.

THE ADVENTURES OF TOM SAWYER (1938)

309

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Selznick gave the picture a painstakingly faithful
production, as witness this uncannily plausible set,
representing a street in Tom's home town. Whatever
its faults, Hollywood can boast the most expert
technicians in the world.

BELOW

Speaking of coincidences, here are two somewhat
identical shots of two groups of five persons, from
two pictures that were poles apart— although both

were among the best the year produced. Number one
(the scene is a British railway carriage) was The
Young in Heart, a gay fable of a family of genial
crooks who went straight because an old lady be-
lieved in them. The scene in which Roland Young
and Douglas Fairbanks, Jr., start out to look for hon-
est work will long be remembered. This group com-
prises Billie Burke, Fairbanks, Young, Janet Gaynor,
and Minnie Dupree. Richard Wallace directed the
film.

310

THE TALKING PICTURE

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The other was M-G-M's Three Comrades, adapted
from Erich Maria Remarque's novel of postwar Ger-
many. Frank Borzage directed an excellent cast. In
particular, Margaret Sullavan's performance as the
doomed girl was beautiful and touching. This group
comprises Franchot Tone, Miss Sullavan, Robert
Taylor, Robert Young, and Lionel Atwill.

Despite the two million dollars that 20th Century-
Fox put into the production, Suez, featuring Tyrone
Power, Loretta Young, and Annabella, didn't quite
come off. It did have, however, some impressive sets
—for example, this replica of the interior of England's
House of Commons, shown during the shooting of a
scene. Power is standing in the center of the gallery.

SNOW WHITE AND THE SEVEN DWARFS (1938)

311

When Walt Disney announced his intention of mak-
ing a feature-length animated cartoon, to cost nearly
two million dollars, his sincerest well-wishers told
him that he was crazy. In the first place, the public
wouldn't sit through so long a cartoon; in the second
place, an adult audience certainly wouldn't sit
through a fairy tale, and the juvenile audience
wasn't large enough to pay for the cost of produc-
tion. Disney listened politely, and released Snow
White and the Seven Dwarfs, which promptly broke
attendance records all over America, grossed about

eight million dollars, played in forty-one different
countries, and had a sound track in ten different
languages.

BELOW

Snow White had everything— magic, animals, love in-
terest, menace, comedy, and pathos. Here is the
scene where the young prince visits the bier of Snow
White, surrounded by her mourning companions ( the
famous Dopey is second from left). A special Acad-
emy award went to Disney in 1938 for this picture.

312

THE TALKING PICTURE

Algiers was the American version of a French film,
Pepe le Moko, and it featured two lovely girls: Sigrid
Gurie (left) and the Viennese Hedy Lamarr, whose
extraordinary beauty so hypnotized the spectators
that they didn't care whether or not she could act.
This is a publicity shot.

ABOVE RIGHT

The acting was provided, first, by Charles Boyer,

whose undeniable talent and brooding Latin charm
did to the female onlookers what Hedy Lamarr did
to the male ones; and, second, by Gene Lockhart,
who played the villain.

BELOW

Ginger Rogers had another straight acting part in
Vivacious Lady, and she and James Stewart ( shown
here with her) delighted the customers with this
comedy.

YOU CAN'T TAKE IT WITH YOU (1938)

313

Frank Capra did a wonderful job of direction when
he brought George S. Kaufman's and Moss Hart's
lunatic play, You Can't Take It With You, to the
screen. The father who pays no income tax because
he doesn't approve of it; the mother who paints, but
who took up writing because somebody delivered a
typewriter at the house by mistake; the boarder who
makes fireworks in the basement; the son who plays
the vibraphone; the daughter who mistakenly thinks
she can dance— they were all there, and funnier than
ever. In this family scene we have: Halliwell Hobbes
posing on the box of explosives, Spring Byington at

the easel, Dub Taylor at the vibraphone, Ann Miller,
and Mischa Auer. The cast also included Jean Ar-
thur, James Stewart, Lionel Barrymore, and Edward
Arnold.

BELOW

The Dawn Patrol, which had featured Richard Bar-
thelmess and Douglas Fairbanks, Jr., in 1930, was
remade by Warners in 1938, this time with Errol
Flynn and David Niven, a popular newcomer, as the
leads. Niven is at the left in this group, then come
Flynn, Donald Crisp, and Basil Rathbone.

314

THE TALKING PICTURE

One of the best pictures of 1939 was Mr. Smith
Goes to Washington, which Frank Capra produced
and directed for Columbia. This scene shows James
Stewart, as the youthful Senator, starting his filibus-
ter speech in his own defense. Notice the amazing
faithfulness of this set.

BELOW

Howard Hawks' production of Only Angels Have
Wings offered several fine performances by the prin-
cipals. Shown here are Richard Barthelmess, making
a comeback, Cary Grant, and Thomas Mitchell. In
the background is Allyn Joslyn.

STAGECOACH ( 1939)

315

Mitchell also gave a memorable performance as the
drunken doctor in Walter Wanger's Stagecoach. This
was a really first-rate Western, superbly directed by
John Ford. In this scene are John Carradine, Donald
Meek, and Mitchell.

BELOW

Disney's most notable production of the year was
The Ugly Duckling, and it got an Academy award.

316

THE TALKING PICTURE

An exceptionally honest and powerfully acted pic-
ture was the screen version of John Steinbeck's Of
Mice and Men, which Lewis Milestone produced
and directed for Hal Roach. Thanks to a script that
was virtually a literal transcript of the play, brilliant
direction, and a fine cast, the picture made a deep
impression. In this scene, George, played by Burgess
Meredith (right), is steeling himself to shoot his
simple-minded pal, Lennie ( Lon Chaney, Jr.), to
save him from being lynched by a posse.

BELOW

One of the best comedies of 1939, Bachelor Mother,
was directed by Garson Kanin for RKO. Ginger
Rogers, Charles Coburn, and David Niven, abetted
by an excellent script by Norman Krasna, gave irre-
sistible performances. In this scene, the stern grand-
parent, confronted by what he thinks is his illegiti-
mate grandson, becomes unexpectedly maudlin over
being a grandfather.

THE OLD MAID (1939)

317

Bette Davis gave a poignant characterization of the
dying young wife in the screen version of the tragic
play, Dark Victory. Edmund Goulding directed the
picture for Warner Brothers.

BELOW

Warners gave Zoe Akins' play based on Edith Whar-
ton's novelette, The Old Maid, an honest, well-

directed, and well-cast production, in which Bette
Davis and Miriam Hopkins gave notable perform-
ances. Edmund Goulding also directed this film. The
two sisters are shown here, one ( Miss Hopkins ) with
her adopted daughter, watched by the other ( Miss
Davis ) who is, unknown to the other, the child's real
mother.

318

THE TALKING PICTURE

Ben Hecht and Charles MacArthur made an expert
screen adaptation of Emily Bronte's novel, Wither-
ing Heights, and Samuel Goldwyn gave it a cast and
production that resulted in one of the finest pictures
Hollywood has ever turned out. Merle Oberon as
Cathy, David Niven as Linton, and Laurence Olivier
as Heathcliff were a trio that could hardly have been
bettered; and William Wyler's direction was superb.

Here are Miss Oberon and Olivier in one of the early
scenes.

BELOW

Olivier's acting talents and personality were admira-
bly suited to the moodiness of Heathcliff's character.
His was an unforgettable performance. In this scene
are Niven, Miss Oberon, and Olivier.

GONE WITH THE WIND (1939)

319

The great event of 1939, of course, the production
that overshadowed all others, was the screen version
of Margaret Mitchell's phenomenal best seller, Gone
With the Wind. For two years producer David O.
Selznick searched for a girl to play Scarlett O'Hara
and finally gave the part to Vivien Leigh, who, al-

though English, gave an admirable portrait of the
Southern heroine. There was never any doubt about
who should play Rhett Butler, and Clark Gable did.
Here he is with Miss Leigh in one of their less hos-
tile interludes.

320

THE TALKING PICTURE

Leslie Howard, shown here with Olivia de Havilland
(left) and Miss Leigh, was an admirahle choice for
the role of Ashley. Miss de Havilland's portrait of
Melanie was one of the best performances in the
Elm.

The picture took nearly two years to make and cost
$3,850,000— easily the most ambitious offering the
screen has ever presented. This shot, of wounded
Confederate soldiers awaiting removal, shows where
some of the money went.

GOOD-BYE, MR. CHIPS (1939)

321

Selznick took a heavy risk in presenting a picture
that lasted 220 minutes, but the film vindicated his
judgment. The picture ran away with most of the
Academy awards for the year: it was chosen the best
production; Vivien Leigh won the award as the best
actress; Hattie McDaniel, as the best supporting ac-
tress; Victor Fleming, for the best direction; Sidney
Howard, for the best screen play; and awards went
to it for the best art direction and best film edit-
ing. David O. Selznick received the Thalberg Memo-
rial Award. His pecuniary reward has been a gross
intake thus far of thirteen million dollars. Here is a
spectacular scene from Gone With the Wind, the

burning of Atlanta, one of the costliest and most
exciting sequences ever made.

BELOW

M-G-M filmed James Hilton's novel Good-bye, Mr.
Chips in England in 1939. Sam Wood went over to
direct it, and did a splendid job. Robert Donat, as
Chips, gave one of his best performances, and his
make-up, as you can see, was a triumph. This film
introduced Greer Garson to the American motion-
picture public. With Donat, in the scene above, is
Terry Kilburn, who also turned in a fine perform-
ance.

322

THE TALKING PICTURE

Cliflurd Odets' play of a violinist who becomes a
prize fighter, Golden Boy, was brought to the screen
by Columbia in 1939, with William Holden in the
title role. Appearing in this scene are (left to right):
Edward Brophy, Barbara Stanwyck, Adolphe Men-
jou, and Holden. Rouben Mamoulian directed the
film.

Another fine film from England was George Bernard
Shaw's Pygmalion, released by M-G-M. Leslie How-
ard not only played the lead but also codirected the
picture with Anthony Asquith. This was the first
Shaw play ever screened, and Shaw was delighted
with it. Here are Howard and Wendy Hiller, who
gave an unforgettable performance as the flower girl
who is transformed into a lady.

THE WOMEN (19 3 9)

323

The year '39 also saw a reversal of the usual all-
male cast, in an all-female screen version of Clare
Booth's play, The Women, directed with verve and
noise by George Cukor. One of the picture's more
ladylike moments is reflected in the shot above,
which reveals, in the traditional sequence, Norma
Shearer, Joan Fontaine, Rosalind Russell, Paulette
Goddard, and Mary Boland. Space and the censor do
not permit a showing of the lady who sat in the

bathtub, impersonated by Joan Crawford.

BELOW

Here is Rosalind Russell in a somewhat tamer mood.
The picture is His Girl Fridaij, a remake of The
Front Page, the Ben Hecht-Charles MacArthur play.
In this version Hildy Johnson, star reporter, becomes
Hilda Johnson. Howard Hawks directed this fast and
funny film for Columbia in 1940. With Miss Russell
here are Cary Grant and Gene Lockhart.

324

THE TALKING PICTURE

Early in 1940 came Pinocchio, Walt Disney's first
full-length feature since Snow; White. Though the
story of the puppet who became a boy lacked the
sentimental appeal of the previous picture, it had
plenty of comedy and excitement and pictorial beauty.
Technically, it carried animation to a new height of
perfection. Here are four of the chief personages of
the picture: Figaro, the kitten; Cleo, the amorous
goldfish; Jiminy Cricket, who acted as Pinocchio's

conscience; and Pinocchio himself. Notice Pinocchio's
hand. Like most Disney characters, human beings
alone excepted, it has only three fingers and a thumb.

BELOW

Cary Grant and Irene Dunne followed their hilari-
ous The Awful Truth with another successful com-
edy, My Favorite Wife. In this scene are Ann Shoe-
maker, Miss Dunne, and Grant.

NO TIME FOR COMEDY (1940)

325

The movie fan of today will accept far sterner fare
than the tales of the silent davs. For instance, the
screen adaptation of Joseph Conrad's Victory, as pro-
duced by Paramount in 1940. Two of the principals
were Fredric March and Margaret Wycherly, shown
here.

BELOW

In the movie version of S. N. Behrman's No Time
for Comedy, Rosalind Russell played the part cre-
ated by Katharine Cornell on the stage. She is
shown here with Allyn Joslyn.

326

THE TALKING PICTURE

In screening Christopher Morley's Kitty Foyle, Gin-
ger Rogers essayed the most ambitious role she had
attempted since giving up dancing roles to become
a serious actress. Her performance won her the 1939-
40 Academy award. She appears here in a scene
with Gladys Cooper and Dennis Morgan.

RKO made a film version of Sidney Howard's Pulit-
zer Prize play, They Knew What They Wanted, with
Charles Laughton in a dialect part, and doing it
well. Carole Lombard played the mail-order wife ad-
mirably. She is shown here with Laughton and
William Gargan.

REBECCA ( 1940)

327

Preston Sturges, author of the play Strictly Dishon-
orable and one of Paramount's best script writers,
had a story, so the legend goes, that he begged Para-
mount to let him produce and direct. Paramount
refused, but offered a large sum for the story. Sturges
finally got his way by selling his bosses the story for
one dollar, taking his change, as director, on the
profits of the picture. The result, The Great McGinty,
was a great success in 1939. He had no difficulty,
therefore, in inducing Paramount to let him follow

the same procedure with his later pictures, Christ-
mas in July, The Lady Eve, and Sullivan's Travels.
Above is Brian Donlevy, who played McGinty.

BELOW

In 1940 David O. Selznick made a picture of Daphne
Du Maurier's story, Rebecca. Alfred Hitchcock gave
it masterly direction, which, coupled with beautiful
performances by Laurence Olivier, Joan Fontaine,
and Judith Anderson, made it one of the important
pictures of the year.

328

THE TALKING PICTURE

Bette Davis added to her reputation as one of Holly-
wood's best actresses with her performance in a
screen version of \V. Somerset Maugham's play, The
Letter, which Warners produced in 1940.

BELOW

John Ford directed two outstanding productions in

1940. One was John Steinbeck's saga of migrant
workers, The Grapes of Wrath. Nunnally Johnson
prepared the script for Twentieth Century-Fox. Here
are Henry Fonda and Jane Darwell in one of its
realistic, unprettified scenes.

THE PHILADELPHIA STORY (1940)

329

The other Ford production was Long Voyage Home,
based on Eugene O'Neill's one-act sea plays. This
was another realistic and gripping film, without
fancy costumes and lavish sets. In it Thomas Mitchell
gave one of his best performances. In this scene are
Mitchell, John Qualen, and John Wayne.

One of the brightest comedies of 1940 was Philip
Barry's The Philadelphia Story, with Katharine Hep-
burn repeating her stage role. M-G-M produced, and
George Cukor directed it. The principals in this
scene are John Howard, Cary Grant, Hepburn, and
James Stewart.

330

THE TALKING PICTURE

fane Austen's beloved novel, Pride and Prejudice,
was filmed by Metro in 1940. Robert Z. Leonard di-
rected a first-rate cast, Greer Garson especially con-
tributing a glowing and delicate performance. Here
are Melville Cooper, Mary Boland, Miss Garson, Ann
Rutherford, Marsha Hunt, and Edna May Oliver.
Not shown in this scene is Mr. Darcy, played by
Laurence Olivier.

BELOW

Rood to Singapore brought together Bob Hope, Bing
Crosby, and Dorothy Lamour in a riotously funny
picture, and brought forth a number of even funnier
sequels. This Road to was directed by Victor Schert-
zinger for Paramount in 1940.

THE GREAT DICTATOR (1940)

331

The two most important cinematic events of 1940
were both revolutionary in their respective ways.
The first was Charlie Chaplin's long-awaited picture,
The Great Dictator. Here, for the first time in his
career, he played a speaking part. His enunciation
was perfect, and his voice was pleasant in quality
and, when the occasion demanded it, powerful. The
great pantomimist was an accomplished speaking
actor as well. Some of his best speeches, however,
were delivered not in English, but in the grotesque,
quasi-Teutonic jargon that was the native tongue of
flynkel, the Great Dictator of the mythical country
of Tomania. Jack Oakie, as Napaloni, dictator of
the neighboring country of Bacteria, shared comedy
honors with Chaplin. He is shown here, to the left
of Hynkel. The others in the front row are: (extreme
left) Carter De Haven as an ambassador, (right of

Chaplin) Billy Gilbert as Herring, and Henry Dan-
iell as Garbitsch. Second from the left in the back
row is Reginald Gardiner as Schultz.

BELOW

Chaplin played the dual role of a little Jewish barber
who is the dictator's double and the dictator himself.
Here he is, in the former role, being arrested by the
Tomanian equivalent of the Gestapo, with Paulette
Goddard, as Hannah, in the doorway. The picture's
appeal was undoubtedly injured by the fact that it
was begun in 1938, before the war, and was released
in 1940, when Adolf Hitler, the thinly disguised
original of Hynkel, was no laughing matter. Many of
the individual sequences in the picture were, never-
theless, worthy to rank among Chaplin's happiest
inspirations. Chaplin, as usual, produced, wrote, and
directed the film.

332

THE TALKING PICTURE

Through a fortuitous chain of circumstances the dic-
tator is arrested in place of his double, and the little
barber takes his place at the head of the army that
is occupying a defenseless neighboring republic. In-
vited to address his victorious troops, the supposed
Hynkel makes an impassioned plea for peace and
tolerance. This, one of the closing scenes, shows
Hynkel (Chaplin) and Schultz, his friend (Reginald
Gardiner), about to mount the reviewing stand.
Many critics objected to the final speech in the pic-
ture on the ground that it took Chaplin out of char-
acter and was not in key with what had gone before.

BELOW LEFT

If Chaplin talked, Disney gave a concert. In Fan-
tasia, released in the late fall of 1940, he disclosed
something new in the line of musical entertainment.
Fantasia offered a program of descriptive music, re-
corded by the Philadelphia Orchestra under Leopold

Stokowski, with animated program notes to take the
place of the usual printed ones. The animation, need-
less to say, was Disney's part of the proceedings,
and Disney at his best. Deems Taylor, appearing on
the screen at intervals, acted as general apologist
and between-numbers commentator. The film opened
with a Bach toccata and fugue, illustrated by abstract
moving forms. In Dukas' The Sorcerer's Apprentice,
our old pal, Mickey Mouse, was the hero. He was
the only traditional Disney character in Fantasia.

BELOW RIGHT

Tchaikovsky's Nutcracker Suite, a Disney master-
piece, was one of the most exquisite episodes in the
series, as this shot from "The Waltz of the Flowers"
indicates. A unique feature of Fantasia was the re-
production of the music. Recorded on three sound
tracks, it was produced through a battery of sixty
loudspeakers placed throughout the theater, giving
the music a quality of astonishing fidelity.

FANTASIA ( 1940)

333

The first half of the program closed with Stravin-
sky's The Rite of Spring. The music to the ballet for
which this was originally written caused an uproar
at its first hearing and is still considered too ad-
vanced for the average taste. Nevertheless, as real-
ized by the Disney forces, it was one of the most
successful numbers on the program— a tribute not
only to the public's growth in musical appreciation,
but also to Disney's genius for translating sounds
into action. Shown here is one of the dinosaurs from
this sequence.

ABOVE BIGHT

The second half comprised Beethoven's "Pastoral"
Symphony ( which aroused violent controversy over
its lapses of taste), Ponchielli's The Dance of the
Hours, Mussorgsky's A Night on Bald Mountain, and
ended with Schubert's Ave Maria. Here is a scene
from the Mussorgsky work. There has been talk that
Disney plans to add new numbers to Fantasia.

BELOW

No other picture of 1941 was more volubly dis-
cussed than Orson Welles' Citizen Kane. When RKO
commissioned a picture from Welles, who had made
a reputation in radio and as director of the Mer-
cury Theater in New York, he was to have carte
blanche as to story. He was to be author, producer,
director, and, as this still indicates, the star. Charles
Chaplin is the only other man, thus far, ever to have
combined all these functions; even he had to own
his studio before he was able to do this. The picture
received sensational publicity fo- its alleged parallel-
ing of the life story of a famous living newspaper
publisher; and there was much gossip regarding
threats of suppression and retaliation. In fact, the
Hearst press never advertised, reviewed, or men-
tioned the film or Welles. Citizen Kane didn't need
the publicity, for it was an engrossing film.

334

THE TALKING PICTURE

The critical acclaim approached hysteria, one critic
stating that "the motion-picture industry will be
learning from Citizen Kane lor five years to come."
This scene gives a good idea of the unusual camera
angles and unorthodox lighting that made it inter-
esting photographically. Gregg Toland was the pho-
tographer.

BELOW

There was excellent acting in the picture, particu-
larly by Dorothy Comingore as Kane's second wife,
and by Welles himself, in the title role. This scene

shows Kane and his wife in their vast estate in
Florida, Xanadu. Citizen Kane was an extraordinary
achievement for a young man of twenty-five with no
motion-picture experience of any sort.

ABOVE BIGHT

Here is a scene from Warner's production of Kings
Row. Though the picture was overlong and somber,
Sam Wood's direction kept the story moving elo-
quently. The leads were played by Ann Sheridan,
Betty Field, Ronald Reagan, and, above, Robert Cum-
mings and Claude Rains.

SERGEANT YORK (1941)

335

Another Warner picture of 1941 was Sergeant York, famous soldier, added to his list of fine performances,
a biography of the World War I hero. Gary Cooper, Joan Leslie, who played his sweetheart, was likewise

as the rustic conscientious objector who became the excellent.

336

THE TALKING PICTURE

The old master of suspense, Alfred Hitchcock, made
Suspicion for RKO in 1941. Joan Fontaine, who had
been so successful in Hitchcock's previous Rebecca,
gave a performance in this one that won her an
Academy award. Other principals were Cary Grant
and Dame May Whitty. That back, in the scene with
Miss Fontaine, belongs to Mr. Grant.

Lillian Hellman's bitter and sardonic play of greed,
The Little Foxes, was also transferred successfully to
the screen in 1941, by Samuel Goldwyn. It was
directed by William Wyler, and acted up to the hilt
by Bette Davis, Patricia Collinge (repeating her
stage performance), and Herbert Marshall. Shown
here, in one of the picture's tense scenes, are Mar-
shall, Teresa Wright, and Miss Davis.

HOW GREEN WAS MY VALLEY (1941)

337

g£| m

Another important 1941 production was Twentietli
Century-Fox's screen version of Richard Llewellyn's
novel, How Green Was Mij Valley, a story of a
Welsh mining town. John Ford did his usual first-
rate job of directing, and Walter Pidgeon and Roddy
McDowall. heading a large cast, turned in memora-

ble performances. The sets, as you can see, were
realistic and substantial. Wartime economy note: If
you happened to see the film version of John Stein-
beck's The Moon Is Down, early in 1943, you saw
the same set, mine and all, plus a dash of snow,
transferred bodily to Norway.

338

THE TALKING PICTURE

As this book goes to press, there is at least one 1942
picture that deserves inclusion— Metro's production
of Mrs. Miniver, derived from Jan Struther's sketches
of middle-class English life during the war. William
Wyler, who has done good pictures for virtually all
the studios, was the director. The cast included
Teresa Wright, and Walter Pidgeon and Greer Gar-
son as Mr. and Mrs. Miniver. They are shown above
in their back-yard air-raid shelter. Miss Garson's
acting won her the Academy award for the best
performance of the year.

ENVOI

So ends the chronicle— or, rather, one chapter of it,
a chapter that will already be somewhat out of date
by the time it reaches you. Only a newspaper could
hope to keep up with the activities of an art indus-
try that makes its history from day to day. All we
could hope to do was to show you its beginnings, its
past, and some of its present. As to its future— that
is in the hands of you, its audience.

DEEMS TAYLOR

APPENDIX

ACADEMY OF MOTION PICTURE ARTS AND SCIENCES AWARDS

Director

1927-28 Frank Borzage (Seventh
Heaven )
and
Lewis Milestone ( Two
Arabian Knights)

1928-29 Frank Lloyd (Weary
River, Divine Lady,
Drag)

1929-30 Lewis Milestone (A/7

Quiet on the Western
Front )

1930-31 Norman Taurog (Skippy)

1931-32 Frank Borzage (Bad Girl)

1932-33 Frank Lloyd (Cavalcade)

1933-34 Frank Capra (It Hap-
pened One Night)

1934-35 John Ford (The Informer)

1935-36 Frank Capra (Mr. Deeds
Goes to Town)

1936-37 Leo McCarey (The Aw-
ful Truth)

1937-38 Frank Capra (You Can't
Take It With You)

1938-39 Victor Fleming (Gone
With the Wind)

1939-40 John Ford (The Grapes
of Wrath)

1940^1 John Ford (How Green
Was My Valley)

1941-42 William Wyler (Mrs.
Miniver)

Actress Actor

Janet Gaynor (Seventh Heaven, Emil Jannings ( The Way of All
Street Angel, Sunrise) Flesh, The Last Command)

Mary Pickford (Coquette)

Warner Baxter (In Old Arizona]

Norma Shearer (The Divorcee) George Arliss (Disraeli)

Marie Dressier (Min and Bill) Lionel Barrymore (A Free Soul)

Helen Hayes (The Sin of Made-
Ion Claudet)

Katharine Hepburn ( Morning
Glory )

Claudette Colbert (It Happened
One Night)

Bette Davis ( Dangerous )

Luise Bainer ( The Great Ziegfeld )

Luise Bainer ( The Good Earth )

Bette Davis (Jezehel)

Vivien Leigh (Gone With the
Wind)

Ginger Bogers ( Kitty Foi/le )
Joan Fontaine ( Suspicion )
Greer Garson (Mrs. Miniver)

Fredric March ( Dr. Jchjll and Mr.
Hyde)

Charles Laughton (The Private Life
of Henry VIII)

Clark Gable (It Happened One

Night )

Victor McLaglen (The Informer)

Paul Muni ( The Story of Louis
Pasteur )

Spencer Tracy ( Captains Coura-
geous)

Spencer Tracy ( Boys Town )

Bobert Donat (Good-bye Mr.
C'ips)

James Stewart ( The Philadelphia
Story )

Gary Cooper (Sergeant York)

James Cagney (Yankee Doodle
Dandy )

INDEX

Abeles, Edward, 27
Abie's Irish Rose, 209, 248
Abraham Lincoln, 228
Academy of Motion Picture Arts

and Sciences, 256
Ackroyd, Jack, 57
Acord, Art, 12
Adam's Rib, 140
Adams, Maude, 156
Adams, Stella, 16
Addams, Jane, 46
Admirable Criehton, The, 87
Adoree, Renee, 172
Adrian, 237

Adventures of Carol, The, 78
Adventures of Dolly, The, 45
Adventures of Kathhjn, The, 94
Adventures of Tom Sawyer, The,

308-309
Afraid to Love, 193
After the Thin Man, 273, 295
Aherne, Brian, 268
Akins, Zoe, 317
Alaskan, The, 149
Albertson, Frank, 239
Alcott, Louisa Mav, 265
Alexander, Ben, 83, 88, 222
Alexander, Gus, 16
Alexander Hamilton, 236
Algiers, 312

Alice in Wonderland, 266
All Quiet on the Western Front,

222-223, 225
Allen, Fred, 25
Alvarado, Don, 209
America, 151-152
Ames, Winthrop, 170
Amet, E. H., 6
Annabella, 310
Anderson, G. M. ("Broncho Billy"),

7, 24, 54
Anderson, Judith, 327
Anderson, Maxwell, 182
Angel, Heather, 277, 284
Animal Kingdom, The, 249
Animals in Motion, 2
Anna Christie (1923), 134
Anna Christie (1930), 223
Anna Karenina, 287
Another Thin Man, 273
Apfel, Oscar, 27
Arbuckle, Maclyn, 32
Arbuckle, Roscoe ("Fattv"), 38,

39, 114
Arlen, Michael, 222
Arlen, Richard, 189, 210
Arliss, George, 139, 216, 236, 269
Arnold, Edward, 313
Arrowsmith, 244
Arthur, George K., 158
Arthur, Jean, 313
Aryan, The, 70
Arzner, Dorothy, 145, 267, 296

Ashes of Vengeance, 138

Asquith, Anthony, 322

Astaire, Adele, 285

Astaire, Fred, 261, 262, 285

Asther, Nils, 259

Astor, Mary, 297

Atwill, Lionel, 267, 280, 282, 310

Auer, Mischa, 292, 313

Austen, Jane, 330

Awful Truth, The, 304, 324

Ayres, Agnes, 118, 120, 178

Ayres, Lew, 222, 223

Bach, Johann Sebastian, 332

Rachelor Mother, 316

Back Street, 254

Bacon, Lloyd, 252

Bad Girl, 256

Baggott, King, 13, 14

Balderston, John L., 277

Balshofer, Fred, 12

Bancroft, George, 193, 204

Bankhead, Tallulah, 247

Banky, Vilma, 178, 192, 267

Bara, Theda, 33, 34, 52, 65, 75

Barbed Wire, 194

Barnes, George, 7

Barnett, Battling, 4

Barney Oldfield's Race for a Life,

30
Barretts of Wimpole Street, The,

277
Barrie, Sir James M., 87, 174
Barrie, Nigel, 83, 108
Barrie, Wendy, 299
Barriscale, Bessie, 27, 88
Barry, Eddy, 16
Barry, Leon, 111
Barry, Philip, 249, 329
Barry, Wesley, 152
Barrymore, Ethel, 250
Barrymore, John, 132, 159, 181,

193, 230, 247, 250, 254, 260,

290
Barrymore, Lionel, 11, 142, 151,

195, 206, 216, 233, 250, 253,

260, 281, 299, 303, 313
Barthelmess, Richard, 66, 87, 104,

116, 157, 228, 229, 271, 313,

314
Bartholomew, Freddie, 281, 294,

299
Battle of the Sexes, 209
Baum, Vicki, 253
Baxter, Warner, 252, 275
Bay, Tom, 71
Bayne, Beverly, 25, 65
Beardsley, Aubrey, 141
Beau Brummel, 159
Beau Geste, 173
Beauty Market, The, 108
Beavers, Louise, 275
Beckley, Beatrice, 24
341

Becky Sharp, 280

Beery, Noah, 165, 173, 206

Beery, Wallace, 37, 130, 138, 164

210, 224, 243, 253, 260, 263
Beethoven, Ludwig van, 333
Beggar on Horseback, 170
Beggars of Life, 210
Behrman, S. N., 325
Belasco, David, 11, 22, 102, 173,

213
Belasco, Walter, 36
Bellamy, Madge, 129
Ben Hur, 178-179
Benedict, Kingsley, 59
Bennett, Belle, 68, 170
Bennett, Constance, 162, 228, 233,

305
Bennett, Enid, 132, 155
Bennett, Joan, 265, 285
Bennett, Richard, 142
Bergman, Henry, 74
Berkeley Square, 211
Bernhardt, Sar?h, 20-22
Better Wife, The, 83, 108
Between Showers, 41
Bickford, Charles, 247
Big House, The, 224
Big Parade, The, 171-172, 182, 188
Bill of Divorcement, A, 251
Billington, Francelia, 89
Binney, Constance, 132
Bird of Paradise, The, 247
Birth of a Nation, The, 46-47, 49,

61, 64, 123
Bitter Tea of General Yen, The,

259
Bitzer, G. W., 23, 47
Black Pirate, The, 183
Blackton, J. Stuart, 128
Blakewell, William, 222
Bland, R. Henderson, 19, 20
Blind Husbands, 89, 126
Blockade, 308
Blood and Sand, 125, 149
Bluebeard's Eighth Wife, 134
Boardman, Eleanor, 194
Bogart, Humphrey, 297
Boggs, Francis, 12
Boherne, La, 184
Boland, Mary, 258, 323, 330
Bold Bank Robbery, The, 1
Boles, John, 218, 236
Boleslavsky, Richard, 250
Booth, Clare, 323
Booth, Edwina, 240
Borzage, Frank, 177, 196, 205,

231, 256, 257, 310
Bosworth, Hobart, 12, 15, 17, 31,

32, 35, 65, 76, 79
Boteler, Wade, 109
Bow, Clara, 53, 174, 180, 182,

187, 189
Bowers, John, 129

342

INDEX

Boyd, William, 104, 182

Buyer, Charles, 285, 312

Brabin, Charles, 179

Bracey, Sidney, 135

Bradford, Roark, 295

Brady, Alice, 292

Brady, William A., 6

Brats, 248

Brenon, Herbert, 66, 91, 148, 156,

173, 174
Brent/Evelyn, 193
Brewster's Millions, 27
Brian, Mary, 156, 183
Bride of Frankenstein, The, 235
Broadway, 218

Broadway Melody, The, 184, 220
Brockvvell, Gladys, 164
Broken Blossoms, 86-87, 123, 228
"Broncho Billy": see Anderson,

G. M.
Bronson, Betty, 156, 174, 179
Bronte, Emily, 318
Brook, Clive, 193, 194, 255
Brooks, Louise, 210
Brophy, Edward, 322
Brown, Clarence, 223, 237, 272,

287
Brown, John Mack, 213
Brown of Harvard, 183
Bryant, Charles, 124, 141
Buck, Pearl, 300
Buckland, Wilfred, 27
Bunny, John, 18
Burke, Billie, 260, 298, 309
Burke, Kathleen, 282
Burke, Thomas, 86
Burnett, W. R., 226
Burns, Neal, 16
Burroughs, Edgar Rice, 255
Burton, Charlotte, 58
Bushell, Anthony, 216
Bushman, Francis X., 25, 54, 179,

191
Bushman, Francis X., Jr., 210
Byington, Spring, 265, 313

Cabanne, Christy, 49

Cabinet of Dr. Caligari, The, 94-

95
Cagney, James, 241, 288
CamiUe (1921), 115
Camille (1936), 297
Campbell, Alan, 302
Campbell, Eric, 74
Cantor, Eddie, 174, 190
Capra, Frank, 175, 259, 271, 291,

301, 313, 314
Caprice, 22
Caprice, June, 75
Captain Blood, 285
Captains Courageous, 299
Carewe, Arthur, 198
Carey, Harrv, 16, 240
Carleton, Will, 110
Carmen, 51, 52, 184
Carminati, Tullio, 278
Carol, Sue, 189

Carpenter, Horace B., 51

Carpenter, Jeanne, 138

Carr, Mary, 110

Carradine, John, 315

Carroll, Madeleine, 294, 298, 308

Carroll, Nancy, 209, 226

Carson, Robert, 302

Castle, Irene, 155

Cat and the Canary, The, 198

Caught in a Cabaret, 41

Chadwick, Helene, 59

Chained, 272

Champ, The, 243

Chaney, Lon, 90, 107, 133, 153,

160, 161, 163, 207, 235
Chaney, Lon, Jr., 316
Chaplin, Charles, 18, 40, 41, 42,

45, 54, 56, 57, 73, 74, 80, 82,

92, 102, 111, 133, 154, 168-169,

175, 208, 232, 245, 289, 331-

332, 333
Chatterton, Ruth, 216, 269, 297
Cherrill, Virginia, 245
Cherryman, Rex, 115
Chevalier, Maurice, 217, 274
Christie, Al, 15, 16, 18, 53, 259
Christie, Charles, 16
Christmas in July, 327
Christoplier Strong, 251
Cimarron, 245, 254
Circus, The, 208, 245
Citizen Kane, 94, 333-334
City Lights, 245
Claire, Ina, 134, 214
Clarence, 120
Clark, Jack, 19, 20
Clark, Marguerite, 93, 94
Clayton, Ethel, 128
Cleopatra, 34, 75
Clever Dummy, The, 56
Clever Mrs. Carfax, The, 76
Clifton, Elmer, 46, 61, 62
Clive, Colin, 225
Cobb, Irvin S., 276
Cobb, Joe, 143
Coburn, Charles, 316
Cockeyed World, The, 217
Code of Honor, The, 12
Cody, Lew, 84
Cohens and Kellys in Holh/tvood,

248
Colbert, Claudette, 226, 271, 275,

285
Collinge, Patricia, 336
Colman, Ronald, 165, 170, 173,

192, 244, 286, 298, 301
Comingore, Dorothy, 334
Commanding Officer, The, 34
Compson, Betty, 16, 17, 90, 121,

204
Conan Doyle, Sir Arthur, 164
Condon, Jackie, 143
Conklin, Chester, 41, 54, 55, 289
Conklin, Heinie, 54, 57
Conlon, Tommy, 246
Connecticut Yankee, A, 239

Connecticut Yankee in King Ar-
thur's Court, A, 115, 239
Connelly, Marc, 295
Connolly, Walter, 305
Conrad, Joseph, 325
Conway," Jack, 12, 33, 68
Coogan, Jackie, 111, 144, 232, 308
Cooper, Gary, 31, 176, 189, 207,

227, 257, 258, 266, 282, 291, 335
Cooper, Gladys, 326
Cooper, Jackie, 242, 243
Cooper, Melville, 330
Cooper, Merian C, 166, 260
Cooper, Miriam, 61
Coquette, 213
Corbett, James J., 6
Cordoba, Pedro de, 51
Cornell, Katharine, 325
Cortez, Ricardo, 104, 180, 195
Costello, Dolores, 181
Costello, Maurice, 53, 89
Count of Monte Cristo, The (1909),

15
Count of Monte Cristo, The (1913),

24
Count of Monte Cristo, The (1922),

127
Courtship of Miles Standish, The,

132, 166
Covered Wagon, The, 36, 144-145,

158
Coward, Noel, 82, 234, 258, 282
Cradle Song, 264
Craig's Wife, 296
Crane, Doc, 93
Crawford, Joan, 162, 195, 206, 215,

253, 261, 272, 323
Crews, Laura Hope, 215
Crimson Challenge, The, 126
Crisp, Donald, 46, 48, 86, 192, 313
Cromwell, John, 298
Cromwell, Richard, 282
Crosby, Bing, 330
Crosby, Percy, 242
Crowd, The,' 194
Crowell, Josephine, 61
Cruze, James, 35, 36, 119, 144,

145, 170, 215, 258
Crystal Hall, 43
Cukor, George, 260, 265, 281, 297,

323, 329
Cummings, Constance, 251
Cummings, Irving, 58
Cummings, Robert, 334
Cunard, Grace, 60

Daddy, 144
Daddy Long Legs, 86
Dagover, Lil, 95
Daley, Robert, 13
Dalton, Dorothy, 82, 126
Daly, Hazel, 80
Damita, Lily, 217
Dana, Viola, 66, 156
Dance Madness, 182
Dancing Lady, 261
Dane, Karl, 172

INDEX

Daniell, Henry, 331

Daniels, Bebe, 72, 73, 75, 106,

119, 150, 218
Daniels, Mickey, 143
D'Arcy, Roy, 171
Dark Angel, The, 288
Dark Victory, 317
Darrow, Jackie, 244
Darwell, Jane, 296, 328
Daudet, Alphonse, 237
Daughter of the Gods, 66
Davenport, Dorothy, 17
David Copperfeld, 281, 282
Davidson, Max, 185
Davies, Howard, 12, 69
Davies, Marion, 134
Davis, Bette, 219, 270, 297, 317,

328, 336
Davis, Horace, 16
Davis, Mildred, 114
Dawn Patrol, The (1930), 229
Dawn Patrol, The (1938), 313
Day at the Races, A, 303
Dead End, 299
Dee, Frances, 265
DeGrasse, Sam, 61, 89
De Haven, Carter, 36, 331
De Haven, Flora, 36
De Havilland, Olivia, 285, 320
De La Motte, Marguerite, 103, 112
Del Rio, Dolores, 182, 220, 236,

247, 278
DeMille, Cecil B., 26, 27, 35, 77,

82, 84, 87, 104, 106, 136-138,

140, 153, 192, 198, 246, 264
DeMille, William, 119, 120
Dempster, Carol, 111, 122, 151
Denny, Reginald, 276
Design for Living, 258
Destroyer, The, 26
Devil Is a Woman, The, 280
Devil's Saddle, The, 71
Dexter, Elliott, 82, 140
Diamond from the Sky, The, 58
Diamond Lil, 266
Dickens, Charles, 281
Dickson, W. K. L., 2, 3
Dictator, The, 119
Dietrich, Marlene, 158, 227, 255,

267, 268, 280
Dieterle, William, 288, 307, 308
Digges, Dudley, 271, 283
Dinner at Eight, 260
Disney, Walt, 14, 221, 239, 268,

275, 306, 311, 315, 324, 332-333
Disraeli, 216

Divine Woman, The, 203
Dix, Richard, 137, 165, 245
Docks of New York, 204
Dr. Jekyll and Mr. Hyde, 247, 256
Dodsworth, 297
Dollar a Year Man, The, 114
Doll's House, A, 124
Don Juan, 193, 201
Donald Duck, 275
Donat, Robert, 321
Donlevy, Brian, 327

Donnelly, Dorothy, 191

Don't Change Your Husband, 84,

106
Doro, Marie, 65
Dorothy Vernon of H addon Hall,

155
Dos Passos, John, 280
Dove, The, 206
Dovey, Alice, 34
Down to the Sea in Ships, 180
Dream Street, 111
Dresser, Louise, 167
Dressier, .Marie, 42, 223, 224, 260,

263
Dressmaker from Paris, The, 159
Drumier, Jack, 78
Dukas, Paul, 332
Dumas, Alexandre, fils, 297
Du Maurier, Daphne, 327
Dumb Girl of Portici, The, 67
Dunn, James, 275
Dunne, Irene, 245, 254, 294, 304,

324
Dupont, Patty, 110
Dupree, Minnie, 309
Durbin, Deanna, 293
Dvorak, Ann, 271
Dwan, Allan, 130

Eagels, Jeanne, 219

Eagle, The, 167

Eagle of the Sea, 180

Eagle's Feather, The, 142

Eagle's Nest, The, 7-8

Earles, Harry, 163

Easiest Way, The, 233

East Lynne, 243

Eastman, George, 2

Easy Street, 80

Eddy, Helen Jerome, 93

Eddy, Nelson, 261

Edeson, Robert, 27, 104

Edison, Thomas A., 2, 3

Edmonds, Buster, 12

Eliot, Charles, 46

Ellis, Robert, 178

Eltinge, Julian, 76

Emperor Jones, The, 266

Empire State Express, The, 5

Enchanted Cottage, The, 157

Enoch Arden, 49

Escape, The, 23

Eternal City, The, 48, 112, 142

Evangeline, 220

Evans, Madge, 78, 275

Exit the Vamp, 128

Fair, Elinor, 142

Fairbanks, Douglas, 67, 82, 84, 92,

102, 103, 111-113, 121, 130-132,

145-147, 168, 177, 183, 188,

214, 234
Fairbanks, Douglas, Jr., 135, 226,

229, 251, 298, 309, 313
Falaise, Marquis de la, 167
False Colors, 32
Family Affair, A, 303

343

Fantasia, 221, 332-333

Farewell to Arms, A, 256, 257

Farina, 143

Farnum, Dustin, 26-28, 69, 110

Farnum, William, 110

Farrar, Geraldine, 51, 52, 76-77.

155, 184
Farrell, Charles, 196, 205, 218, 229
Fast and Loose, 225
Fatty and the Heiress, 39
Fatty's Flirtations, 39
Faye, Julia, 104
Fazenda, Louise, 54, 74
Feet of Clay, 104, 105
Ferber, Edna, 164, 245, 260, 294,

307
Fetchit, Stepin, 276
Field, Betty, 334
Fields, W. C, 258, 264, 281
Fighting Chance, The, 105
Figman, Max, 27
Finch, Flora, 198
Finlayson, Jimmy, 54, 57
Fiske, Minnie Maddem, 29
Fitzmaurice, George, 121, 142, 192
Fitzsimmons, Robert, 6
Flaherty, Robert, 184, 241
Flaming Youth, 175
Fleming, Victor, 103, 299, 321
Flesh and the Devil, 195
Flowers and Trees, 239
Flying Down to Rio, 262
Flynn, Emmett J., 115, 127
Flvnn, Erroll, 285, 313
Fonda, Henry, 308, 328
Fontaine, Joan, 323, 327, 336
Fontanne, Lynn, 240
Fool There Was, A, 33
Foolish Wives, 126, 127
Foote, Courtenay, 67
Forbes, Ralph, 173
Ford, Francis, 60
Ford, Harrison, 79, 84, 134
Ford, John, 158, 210, 244, 276,

284, 315, 328, 329, 337
Ford, Phil, 59
Ford, Wallace, 276
Forde, Eugenie, 17, 58
Forde, Victoria, 85
Forty-second Street, 252, 262
Four Horsemen of the Apocalypse,

The, 116-118, 122, 149
Four Sons, 210
Fox, William, 33, 52
Fox Movietone News, 201
Francis, Kay, 253, 256
Frankenstein, 235
Franklin, Sidney, 240, 277, 300
Fred Ott's Sneeze, 3
Frederick, Pauline, 48, 203
Free Soul, A, 233
Freeland, Thornton, 262
French, George, 16
Freshman, The, 169
Frisco Jenny, 269
Frohman, Daniel, 21, 22, 24, 29

344

From the Manger to the Cross, 19-

20
Front Page, The, 237-238, 323
Fuller, Dale, 126
Fuller, Mary, 30
Fun/, 292

Gable, Clark, 25, 162, 163, 233,
249, 261, 271, 272, 283, 296, 319

Gallagher, Ray, 16

Gallaher, Donald, 35

Garbo, Greta, 79, 185, 195, 197,
203, 222, 223, 237, 249, 254,
262, 267, 287, 297

Gardiner, Reginald, 331, 332

Gargan, William, 326

Garmes, Lee, 257

Garnett, Tay, 253

Garon, Pauline, 140

Garson, Greer, 321, 330, 338

Gaucho, The, 188

Gaudio, Tony, 13

Gaye, Howard, 46

Gaynor, Janet, 110, 163, 196, 197,
205, 218, 302, 309

Gebhardt, George, 12

Geddes, Norman Bel, 299

General, The, 188

George Washington, Jr., 152

Gerrard, Douglas, 34, 48, 67

Gershwin, George, 285

Gertie the Dinosaur, 14

Getawaij Kate, 59

Gibson, Hoot, 148

Gilbert, Billy, 331

Gilbert, John, 68, 127, 153, 160,
171, 172, 184, 195, 197, 222,
262, 287

Gillingwater, Claude, 113, 194

Girl Crazy, 285

Girl from Missouri, The, 272

Girl from Montmartre, The, 178

Girl Named Mary, A, 94

Girl of the Golden West, The, 227
Gish, Dorothy, 61, 82, 123
Gish, Lillian, 46, 49, 61, 62, 83,
86, 104, 123, 165, 184, 186, 205
Gleason, Russell, 222
Glorious Adventure, The, 128, 183
Glyn, Elinor, 180, 187
Goat, The, 91, 122
Goddard, Paulette, 289, 323, 331
Going Up, 189
Gold Rush, The, 168-169
Golden Boy, 322
Goldfish, The, 154
Goldwyn, Samuel, 26, 27, 51, 176,
179,' 192, 244, 267, 288, 297,
299, 318, 336
Gone With the Wind, 162, 319-321
Good Bad Man, The, 67
Good Earth, The, 300
Good Little Devil, The, 22
Good-bye, Mr. Chips, 321
Goodwin, Harold, 102
Gordon, Huntley, 134
Gordon, Vera, 107

Goulding, Edmund, 215, 317

Gowland, Gibson, 89

Grand Hotel, 253-254

Grandma's Boy, 133

Grant, Cary, 266, 304, 314, 323,
324, 329, 336

Grapes of Wrath, The, 328

Grapewin, Charley, 297

Grass, 166, 260

Grauman's Chinese Theater, 279

Graves, Ralph, 111

Gray, David, 225

Gray Chiffon Veil, 84

Great Batik Robbery, The, 7

Great Dictator, The, 331-332

Great Divide, The, 128

Great Gabbo, The, 215

Great McGinty, 327

Great Train Robbery, The, 7, 24

Great Ziegfeld, The, 298

Greed, 154

Green, Alfred, 216

Green, Mitzie, 232

Green Goddess, The, 139

Green Hat, The, 222

Green Pastures, The, 295

Greenwood, Charlotte, 50

Grey, Zane, 165

Griffith, Corinne, 53, 191

Griffith, David Wark, 7, 11, 23,
28, 35, 42, 45-47, 60, 61, 62,
64, 68, 77, 82, 84, 86, 92, 104,
111, 116, 122, 123, 136, 151,
152, 175, 209, 228

Griffith, Raymond, 223

Griffo, Young, 4

Gruenberg, Louis, 266

Guardsman, The, 240

Guinan, Texas, 59

Gurie, Sigrid, 312

Gypsy Trail, The, 83

Hackathorne, George, 88

Hackett, James K., 24

Hackett, Raymond, 216

Haines, Rhea, 31

Haines, William, 160, 183

Hale, Alan, 118

Hale, Creighton, 104, 198

Hale, Georgia, 158, 168

Half-Breed, The, 177

Hall, James, 210

Hallelujah, 219

Hamilton, Neil, 151, 173, 255

Hammett, Dashiell, 273

Hanford, Ray, 90

Hanson, Einar, 194

Hanson, Juanita, 38

Hanson, Lars, 185, 186, 203

Harding, Ann, 227, 243, 249

Hardv, Oliver, 248

Harlow, Jean, 110, 231, 260, 272

Harris, Mildred, 63

Harron, Robert, 61, 83

Hart, Moss, 313

Hart, William S., 70, 147

Harvey, John, 13

INDEX

Hatton, Raymond, 65, 76

Haver, Phyllis, 54, 55, 147, 209

Hawks, Howard, 229, 314, 323

Hawley, Wanda, 83

Hay, Mary, 104

Hayakawa, Sessue, 85

Haydon, Julie, 282

Hayes, Helen, 213, 244, 256, 257

He Who Gets Slapped, 153, 160,
207

Hearts of the World, 82, 83, 282

Hecht, Ben, 193, 237, 282, 318,
323

Hellman, Lillian, 336

Hell's Angels, 230-231

Hemingway, Ernest, 257

Henabery, Joseph, 61

Henry, Charlotte, 266

Henry, Gail, 57

Hepburn, Katharine, 251, 261, 265
307, 329

Hergesheimer, Joseph, 116

Hersholt, Jean, 118, 209, 244

Hickman, Howard, 50

Hidden Pearls, 85

Hill, George, 224

Hiller, Wendy, 322

Hilliard, Harry, 65

Hilton, James', 301, 321

His Girl Friday, 323

Hitchcock, Alfred, 327, 336

Hitchcock, Raymond, 31

Hitler, Adolf, 331

Hobart, Rose, 229

Hobbes, Halliwell, 313

Holden, Gloria, 306

Holden, Mary, 147

Holden, William, 322

Hollister, Alice, 19, 20, 25, 26, 49

Holmes, Phillips, 226

Holmes, Stuart, 89, 118, 122, 162

Holmes, Taylor, 226

Holt, Jack, 60, 192, 296

Hoodlum, The, 86

Hope, Anthony, 298

Hope, Bob, 330

Hopkins, Arthur, 182

Hopkins, Miriam, 225, 256, 258,

280, 317
Hopwood, Avery, 225
Horsley, Dave, 18
Horton, Edward Everett, 170, 301
Hotel Imperial, 185
How Green Was My Valley, 337
Howard, John, 329
Howard, Leslie, 249, 267, 270, 277,

290, 297, 320, 322
Howard, Sidney, 297, 321, 326
Hoxie, Jack, 72
Hoyt, Harry, 164
H uber's Museum, 43
Hughes, Howard, 230, 237
Hughes, Llovd, 155, 164
Hugo, Victor, 133
Human Figure in Motion, The, 2
Human Wreckage, 184
Humoresque, 107, 177

INDEX

Humphries, Oral, 58

Hunchback of Notre Dame, The,

133
Hunt, Marsha, 330
Hunter, Glenn, 156
Hunting Big Game in Africa, 15
Hurst, Fanny, 107, 254, 275
Huston, Walter, 228, 297
Hyams, Leila, 283

/ Am a Fugitive from a Chain

Gang, 252
Ibanez, Blasco, 116, 117, 125, 195
Ibsen, Henrik, 124
Idols of Clay, 105
If I Had a Million, 258
If I Were King, 110
// You Believe It, It's So, 121
Imitation of Life, 275
Immigrant, The, 74
Impossible Mrs. Bellew, The, 121
In the Bishop's Carriage, 22
Ince, Thomas, 13, 35, 60, 70, 82,

84, 109, 126, 127, 132, 166
Informer, The, 94, 284
Ingram, Rex, 116, 118, 122
Innocents of Paris, The, 217
Inspiration, 237
International House, 264
International Marriage, An, 67
Intolerance, 61-64, 86, 111, 129,

188
Intrigue, The, 69
Invisible Man, The, 261
Irene, 175

Iron Horse, The, 158
Irwin, May, 4
Isn't Life Wonderful?, 151
It, 187

It Happened One Night, 271
It's No Laughing Matter, 32

lackanapes, 17

Jaffe, Sam, 301

Jamison, Bud, 72, 73

Jane, 50

Janecke, Joseph J., 16

Janis, Elsie, 108

Jannings, Emil, 148, 199, 204

Janssen, Werner, 227

Jazz Singer, The, 201-202, 211

Jeffries, James, 6

Jenny Be Good, 106

Jes' Call Me Jim, 109

Jesky, George, 38

Jest, The, 159

Jewell, Isabel, 286, 301

Joan the Woman, 76-77

Joanna, 169

John Barleycorn, 35

Johnson, Nunnally, 328

Johnston, Julanne, 147

Johnstown Flood, The, 196

Jolivet, Rita, 67

Jolson, Al, 201-202, 211

Jones, Allan, 294

Jones, Marcia Mae, 308

Jordan, Dorothy, 224

Jose, Edward, 33

Joslyn, Allyn, 314, 325

Josselyn's Wife, 88

Journey's End, 225

Joy, Leatrice, 153, 159

Joyce, Alice, 19, 139, 232

Judge Priest, 276

Judgment of the Guilty, The, 68

Judith of Bethulia, 23, 68

Julian, Rupert, 135

Just Nuts, 72

Justice, 159

Kanin, Garson, 316

Karloff, Boris, 235, 276

Kaufman, George S., 260, 307, 313

Keaton, Buster, 147, 188

Keeler, Ruby, 252

Keighley, William, 295

Keith, Ian, 246

Kellerman, Annette, 66

Kelly, George, 296

Kelly, Tommy, 308

Kennedy, Madge, 264

Kennedy, Merna, 208

Kenyon, Doris, 149, 236, 269

Kern, Jerome, 294

Kerrigan, James Warren, 70, 78,

145
Kerry, Norman, 161
Kessel, Adam, 12
Key, Kathleen, 179
Kid, The, 111, 144, 232
Kid Boots, 174, 190
Kiki, 173

Kilburn, Terry, 321
Kinetographic Theatre, 3
Kinetoscope, 3, 4, 5, 298
King, Charles, 220
King, Dennis, 229
King, Henry, 170, 176, 184, 294
King Kong, 260
Kmg of Kings, The, 198-199
Kings Row, 334
Kingsley, Sidney, 299
Kingston, Winifred, 69
Kipling, Rudyard, 33, 299
Kirkwood, James, 142
Kismet, 237

Kiss for Cinderella, A, 174
Kitty Foyle, 326
Korngold, Erich, 288
Kornman, Mary, 143
Kosloff, Theodore, 140
Koster, Henry, 293
Krasna, Norman, 316
Krauss, Werner, 95
Kruger, Otto, 272

LaBadie, Florence, 35
LaCava, Gregory, 285, 292
Ladies World, The, 25, 30
Lady Eve, The, 327
Lady for- a Day, 259
Lady in Ermine, 191
Lady Windemere's Fan, 165

345

Laemmle, Carl, 13, 50, 133, 222

Lake, Alice, 90

La Marr, Barbara, 112, 122, 142,

157, 178
Lamarr, Hedy, 312
Lamour, Dorothy, 330
Landi, Elissa, 246, 261
Lang, Fritz, 292
Langdon, Harry, 175, 259
La Plante, Laura, 198
Larkin, George, 36
La Rocque, Rod, 104, 137, 153,

192, 236
Laskv, Blanche, 26
Lasky, Jesse L., 26, 27, 51, 144,

167, 257, 261, 264, 277
Last Command, The, 204
Last Laugh, The, 199
Last of Mrs. Cheyney, The, 214
Latham, Grey, 4
Latham, Otway, 4
Latham, Woodville, 4
Laugh, Clown, Laugh, 207
Laughton, Charles, 258, 277, 283,

326
Laurel, Stan, 248
Lawrence, Florence, 14
Lawrence, Gertrude, 234
Lawson, John Howard, 308
Lawton, Frank, 281
Le Baron, William, 173
Lee, Lila, 75, 88, 125
Lehar, Franz, 171
Leigh, Vivien, 319, 320, 321
Leighton, Lillian, 105
Leisen, Mitchell, 264
Leni, Paul, 198
Leonard, Mary, 11
Leonard, Robert Z., 12, 105, 152,

249, 298, 330
Le Roy, Mervyn, 226, 252
Leslie, Joan, 335
Lester, Kate, 78
Letter, The (1929), 219
Letter, The (1940), 328
Lewis, Ralph, 46, 61, 86
Lewis, Sinclair, 244, 297 .
Life of an American Fireman, The,

6
Life of Emile Zola, The, 306-307
Lilac Time, 207
Liliom, 229
Limur, Jean, 219
Lindsay, Margaret, 269
Lion and the Mouse, The, 128
Little, Anne, 82
Little American, The, 79
Little Annie Rooney, 168
Little Caesar, 226
Little Colonel, The, 289
Little Foxes, The, 336
Little Lord Fauntleroy, 113
Little Minister, The, 121
Little Miss Marker, 275
Little Old New York, 134
Little Women, 265
Littlefield, Lucien, 105, 188

346

Littlest Rebel, The, 106

Lives of a Bengal Lancer, The, 282

Living Corpse, The, 159

Livingston, Jack, 68

Llewtellyn, Richard, 337

Lloyd, Frank, 277, 283

Lloyd, Harold, 57, 72-73, 114, 133,

169, 192
Lloi/ds of London, 294
Lockhart, Gene, 312, 323
Lockvvood, Harold, 17
Lombard, Carole, 225, 292, 305,

326
Lomhardi, Ltd., 91
London, Jack, 31, 33, 35
Lonely Villa, The, 11
Lonesome Luke, 73
Long Voyage Home, 329
Longfellow, Henry Wadsworth, 220
Loos, Anita, 11, 84
Lorna Doone, 129
Lost Horizon, 301
Lost Patrol, The, 276
Lost World, The, 164
Love, 197, 287
Love, Bessie, 61, 67, 70, 164, 184,

220
Love Parade, The, 217
Love's Lariat, 16
Lovey Mary, 184
Lowe, Edmund, 182, 217, 260
Loy, Myrna, 273, 295, 298
Lubitsch, Ernst, 148, 171, 191, 204,

217, 256, 258, 274
Lukas, Paul, 247
Lunt, Alfred, 240
Lyon, Ben, 231
Lvons, Eddie, 16, 17
Lytell, Bert, 91, 121, 142, 165

MacArthur, Charles, 237, 244, 282,

318, 323
MaeDonald, Donald, 17
MacDonald, J. Farrell, 209
MaeDonald, Jeanette, 217, 229,

274, 296
MacDonald, Joe, 13
MacDonald, Mrs. Joe, 13
MacDonald, Katherine, 82, 108,

113
MacGowen, J. P., 20
Mack, Hay ward, 13
Mackaill, Dorothy, 169
MacLaren, Mary, 113
Mac-Lean, Douglas, 189
Mad Whirl, The, 157
Madame Sans-Gene, 167
Madame X, 216
Madison, Cleo, 36
Mddchen in Uniform, 264
Madame Du Barry, 278
Male and Female, 87-88
Mamoulian, Rouben, 262, 268,

280, 322
Mann, Hank, 38
Mann, Margaret, 210
Manners, David, 225

Manners, Lady Diana, 128

Mansfield, Richard, 191

Manslaughter, 226

Mantrap, 180

March, Fredric, 226, 246, 247, 256,

258, 277, 287, 288, 302, 305,

325
Marion, Frances, 224
Mark of Zorro, The, 103, 111
Marriage License, 177
Marsh, Mae, 46, 61
Marshall, Herbert, 219, 256, 288,

336
Marshall, Tully, 61, 65
Martin, Vivian, 79
Marx Brothers, 303
Mason, Shirley, 66
Massacre, 271
Mata Hari, 249
Mathis, June, 116, 117, 118, 125,

179
Maugham, W. Somerset, 219, 270,

328
Maynard, Ken, 71
Mavo, Archie, 297
McAvov, May, 120, 157, 165, 179
McCardell, Roy, 58
McCarey, Leo, 283, 304
McCarthy, Charlie, 215
McCay, Winsor, 14
McCormack, John, 231, 232
McCrea, Joel, 299
McCutcheon, Wallace, 98
McDaniel, Hattie, 321
McDermott, Marc, 30
McDowall, Roddy, 337
McGowen, Robert, 143
McGrail, Walter, 98
McLaglen, Victor, 128, 163, 182,

217, 276, 284
McLeod, Norman, 258, 266, 305
McQuire, Paddy, 54
Meek, Donald, 315
Meeker, George, 210, 254
Meighan, Thomas, 28, 88, 90, 121,

149, 226
Melies, Georges, 8
Melville, Herman, 230
Mender of Nets, The, 11
Menjou, Adolphe, 133, 238, 257,

302, 307, 322
Menzies, William Cameron, 147
Mercanton, Louis, 20
Meredith, Burgess, 316
Meredyth, Bess, 179
Merely Mary Ann, 66
Merimee, Prosper, 52
Merkel, Una, 228
Merry Co Round, 135
Merry Widow, The (1925), 171
Merry Widow, The (1934), 274
Merton of the Moines, 156
Mickey Mouse, 221, 332
Midsummer Night's Dream, A, 288
Miles, David, 13
Miles, Mrs. David, 13
Milestone, Lewis, 222, 237, 316

INDEX

Millard, Harry, 25

Miller, Ann, 313

Miller, Patsy Ruth, 115

Miller, Rube, 38

Million Dollar Mystery, The, 35,

36, 58
Min and Bill, 224, 263
Minter, Mary Miles, 106
Miracle Man, The, 17, 90, 107,

121
Misplaced Foot, A, 31
Miss Nobody, 177
Mr. Deeds Coes to Town, 291
Mr. Smith Goes to Washington,

314
Mrs. Miniver, 338
Mitchell, Margaret, 319
Mitchell, Thomas, 301, 314, 315,

329
Mix, Tom, 85

Moana of the South Seas, 184, 241
Moby Dick, 230
Modern Times, 289
Mohr, Hal, 288
Molly Entangled, 79
Mollycoddle, The, 103
Molnar, Ferenc, 240
Monsieur Beaucaire, 149-150
Montgomery, Douglass, 274
Montgomery, Frank, 12
Montgomery, Robert, 215, 224, 234,

237, 304'
Moon Is Down, The, 337
Moore, Colleen, 164, 175, 207, 264
Moore, Dickie, 287
Moore, Erin O'Brien, 232
Moore, Grace, 227, 278
Moore, Owen, 13, 22, 108
Moran, Lee, 16, 17
Moran, Lois, 170
Moran, Polly, 28
Moreno, Antonio, 149, 195
Morgan, Dennis, 326
Morgan, Frank, 225
Morgan, Helen, 294
Morley, Christopher, 326
Morning Glory, 251
Morocco, 227

Morosco, Oliver, 50, 67, 102
Morris, Chester, 224
Morton, Charles, 210
Muir, Esther, 303
Mulhall, Jack, 157, 169, 234
Muni, Paul, 252, 287, 300, 308
Murger, Henry, 184
Murnau, F. W, 197, 241
Murphy, Dudley, 266
Murphy, Richard, 8
Murray, Charlie, 55, 248
Murray, James, 194
Murray, Mae, 12, 105, 171
Music in the Air, 274
Mussorgsky, Modest, 333
Mutiny on the Bounty, 283
Mutoscope, 4, 5
Muybridge, Eadweard, 2
My Best Girl, 188

INDEX

My Favorite Wife, 324

My Man Godfrey, 292

My Valet, 31

Mvers, Carmel, 63, 179

Myers, Harry, 115, 135, 239, 245

Nagel, Conrad, 105, 119, 121, 182

Nagy, Anton, 16

Naldi, Nita, 125, 137

Nana, 267

Naughty But Nice, 207

Navigator, The, 147

Nazimova, Alia, 66, 115, 124, 134,

141
Negri, Pola, 148, 171, 185, 194
Neilan, Marshall, 48, 58
Neill, R. William, 166
Nesbit, Miriam, 30
Nestor Company, 16, 17, 18
New Moon, The (1919), 89
New Moon, The (1930), 227, 278
New York American, 14
New York Hat, The, 11
Niblo, Fred, 125, 132, 179
Nice People, 119
Night After Night, 251, 266
Night Must Fall, 304
Night of Love, 192
Nijinska, Bronislava, 288
Nilsson, Anna Q., 49, 105, 140,

177
Nissen, Greta, 231
Niven, David, 313, 316, 318
No Time for Comedy, 325
Normand, Mabel, 28, 30, 31, 39,

42
Norris, Kathleen, 88, 188
North of '36, 143
Nothing Sacred, 305
Notorious Miss Lisle, The, 108
Novarro, Ramon, 91, 122, 157, 178,

179, 191, 249, 298

Oakie, Jack, 258, 266, 331

Oberon, Merle, 288, 318

O'Brien, George, 197

O'Brien, Pat, 237

O'Connor, Una, 284

Odets, Clifford, 322

Odyssey of the North, An, 31

Of Human Bondage, 270

Of Mice and Men, 316

O'Flahertv, Liam, 284

Oland, Warner, 98, 99, 255

Olcott, Sidney, 19

Old Fashioned Boy, An, 109

Old Heidelberg, 191

Old Maid, The, 317

Old Mill, The, 306

Oliver, Edna Mav, 266, 281, 290,

330
Oliver, Guy, 85
Oliver Twist, 65

Olivier, Laurence, 318, 327, 330
Olmsted, Gertrude, 53, 152
On Trial, 203
One Exciting Night, 122

One Hundred Men and a Girl, 293
One Night of Love, 278
One-Way Passage, 253
O'Neill, Eugene, 24, 134, 223, 249,

266, 329
O'Neill, James, 24
O'Neill, Sally, 162, 209
Only Angels Have Wings, 314
Orphans' Benefit, The, 275
Orphans of the Storm, 123
O'Sullivan, Maureen, 231, 255, 273
Ott, Fred, 3

Our Dancing Daughters, 206
Our Gang, 143
Over the Hill, 110
Owen, Seena, 61

Page, Anita, 220, 233

Pallette, Eugene, 63, 111, 292

Palmer, Ernest, 205

Panzer, Paul, 8

Parker, Dorothy, 302

Parker, Jean, 265

Parson of Panamint, The, 69

Parsons, Louella, 167

Parsons, Thomas, 12

Passion, 148, 199

Passion's Playground, 108

Pasternak, Joseph, 293

Pathe, 72, 166

Patriot, The, 204

Pavlova, Anna, 67

Penalty, The, 107

Pendleton, Nat, 246, 298

Pepe le Moko, 312

Percy, 166

Perils of Pauline, The, 43, 97-101

Peter Pan, 156, 174

Petrified Forest, The, 297

Phantom of the Opera, The, 161

Philadelphia Story, The, 329

Philbin, Mary, 53, 161

Pickford, Jack, 13, 160, 183

Pickford, Lottie, 13, 58

Pickford, Mary, 11, 13, 22, 28, 45,
48, 49, 58, 78, 79, 81, 82, 86,
92, 93, 94, 102, 113, 120, 142,
143, 155, 160, 168, 184, 188,
213, 214, 267

Pidgeon, Walter, 337, 338

Pinocchio, 324

Pitts, Zasu, 154, 204, 283

Plane Crazy, 221

Plunder, 100, 101

Pollard, Snub, 73

Pollyanna, 93, 102

Ponchielli, Amilcare, 333

Poppy, 264

Porter, Edwin S., 6, 7, 24

Post, Wiley, 276

Powell, David, 105

Powell, Frank, 33

Powell, Paul, 93

Powell, William, 173, 253, 273,
292, 295, 298

Power, Tyrone, 294, 310

Power and the Glory, The, 264

347

Pratt, Purnell, 215

Prevost, Marie, 55, 56, 57, 244

Price, Kate, 175

Pride and Prejudice, 330

Prior, Herbert, 93

Prisoner of Zenda, The (1913), 24

Prisoner of Zenda, The (1922),

112, 122, 142, 178
Prisoner of Zenda, The (1937),

298
Private Lives, 234
. Private Worlds, 285
Public Enemy, 241
Puccini, Giacomo, 184
Purviance, Edna, 74, 133
Pygmalion, 322

Qualen, John, 329
Queen Christina, 262
Queen Elizabeth, 20-22, 23

Rae, Isabel, 13

Raft, George, 251, 258

Rain, 206

Rainer, Luise, 300

Rains, Claude, 261, 334

Ralph, Jessie, 240

Ralston, Esther, 156

Rambeau, Marjorie, 261

Rambova, Natacha, 141

Rand, Sally, 159

Randolf, Anders, 155

Rappe, Virginia, 39

Rasputin and the Empress, 250

Rathbone, Basil, 214, 281, 290,

313
Rattenbury, Harry, 16
Rawlinson, Herbert, 90
Ray, Charles, 109, 132, 166
Raymond, Gene, 257
Reaching for the Moon, 234
Reagan, Ronald, 334
Rebecca, 327, 336
Rebecca of Sunnybrook Farm, 78
Rector, Enoch J., 6
Redman, Frank, 59
Reed, Luther, 218
Reid, Wallace, 46, 49, 51, 76, 119,

120, 140
Reinhardt, Max, 199, 288
Remarque, Erich Maria, 222, 310
Renaldo, Duncan, 240
Rennie, James, 227
Resurrection, 236
Reynolds, Vera, 104, 105
Rhodes, Billie, 16
Rice, Elmer, 232
Rice, John C, 4
Rich, Irene, 109, 165
Richmond, Charles, 27
Rin-Tin-Tin, 203
Rio Rita, 218

Riskin, Robert, 259, 271, 291
Roach, Bert, 57
Roach, Hal, 72, 110, 143, 163, 248,

259, 305, 316
Road to Singapore, 330

348

Roberts, Theodore, 27, 128, 136

Robertson, Lolita, 27

Robeson, Paul, 266

Robin Hood, 129-132, 145, 147

Robinson, Bill, 289

Robinson, Edward G., 226

Robson, May, 259, 308

Rogers, Charles (Buddy), 188, 209

Rogers, Ginger, 252, 262, 307, 312,

316, 326
Rogers, Will, 109, 110, 239, 276
Rogue Song, The, 227
Roland, Gilbert, 266
Roland, Ruth, 58, 102
Romberg, Sigmund, 191
Romeo and Juliet (1908), 8
Romeo and Juliet (1916), 65
Romeo and Juliet (1936), 290-291
Rooney, Mickey, 303
Roosevelt, Theodore, 15
Rowland, Richard, 116
Rovle, Edwin, 26
Rubens, Alma, 63, 177
Ruggles, Charles, 266, 283
Ruggles, Wesley, 245
Ruggles of Red Gap, 283
Runvon, Damon, 259
Russell, Rosalind, 296, 304, 323,

325
Russell, William, 58
Ruth of the Rockies, 102
Rutherford, Ann, 330

Sabatini, Rafael, 285

Sadie Thompson, 206

Safety Last, 133, 169

Sailor-Made Man, A, 114, 133

St. John, Al, 38

St. Johns, Adela Rogers, 233

Saint-Saens, Camille, 221

Sales, Virginia, 305

Sally, Irene, and Mary, 162

Salome, 141

Salvation Hunters, The, 158

Sampson, Teddie, 28

Sandow, Eugene, 5

San Francisco, 296

Sapho, 237

Sawyer, Joe, 284, 297

Scarlet Letter, The, 185, 186

Scenes de la vie de Boheme, 184

Schenck, Joseph, 114, 147

Schertzinger, Victor, 330

Scheurich, Victor, 57

Schildkraut, Joseph, 307

Schoedsack, Ernest B., 166, 260

Schubert, Franz, 333

Scoundrel, The, 282

Sea Beast, The, 181, 230

Sea Hawk, The, 155

Seastrom, Victor, 153, 186, 203,

205
Secrets, 267

Seitz, George B., 98, 303
Selig, William N., 12
Selznick, David O., 261, 281, 298,

308, 309, 319, 321, 327

Selznick, Lewis J., 66, 115
Sennett, Mack, 28, 30, 38, 39, 40,

41, 42, 54, 55, 56, 58, 60, 74,

87, 121, 289
Sergeant York, 335
Seventh Heaven, 196, 205
Shadows of Paris, 148
Shakespeare, William, 214
Shanghai Express, 255
Sharkey, Jack, 6
Shaw, George Bernard, 322
Shay, William, 13
She Done Him Wrong, 266
Shean, Al, 274'
Shearer, Norma, 153, 160, 191,

214, 233, 234, 249, 277, 290,

323
Sheik, The, 118
Sheridan, Ann, 334
Sherriff, R. C, 225
Sherman, Lowell, 104, 266
Sherry, J. Barney, 12
Sherwood, Robert E., 297
Shoemaker, Ann, 324
Show Boat, 294
Sidney, George, 248
Sidney, Sylvia, 232
Siegman, George, 111
Sign of the Cross, The, 246
Silent Battle, The, 70
Sills, Milton, 155
Silly Symphony, 221
Silver King, 71
Sin of Madelon Claudet, The, 244,

256
Singer Jim McKce, 147
Singing Fool, The, 211
Sister's Burden, A, 49
Skeleton Dance, The, 221
Skinner, Otis, 237
Skinner's Dress Suit, 80
Skippy, 242
Skipworth, Alison, 251, 258, 266,

268
Sleepwalker, The, 132
Small Town Girl, A, 75
Smalley, Phillips, 32, 67
Smiley, Joe, 13

Smith, Gladys: see Pickford, Mary
Smith, Thome, 305
Snow, Marguerite, 35
Snow White and the Seven Dwarfs,

311
So Big, 164
Soft Cushions, 189
Son of Frankenstein, The, 235
Son of the Gods, 228
Son of the Sheik, The, 178
Sondergaard, Gale, 307
Song o' My Heart, 231-232
Song of Songs, The, 268
Sothern, Eve, 188
Special Delivenj, 190
Spoilers, The, 110
Squaw Man, The (1913), 26-28
Squaw Man, The (1918), 82
Stage Door, 307

INDEX

Stagecoach, 315

Stahl, John M., 254, 275

Stallings, Laurence, 172, 182

Stand Up and Cheer, 275

Stander, Lionel, 302

Stanford, Leland, 2

Stanley, Forrest, 50, 198

Stanwyck, Barbara, 259, 322

Star Is Born, A, 302

Starke, Pauline, 63, 121

Starr, Frances, 233

Starrett, Charles, 225

Steadman, Myrtle, 32, 33

Steadman, Vera, 55

Steamboat Willie, 221

Steinbeck, John, 316, 328, 337

Stella Dallas, 170

Sten, Anna, 267

Stephen Steps Out, 135

Sterling, Ford, 28, 30, 38, 39, 40,

41
Sternberg, Josef von, 158, 193, 204,

227, 255, 280
Stewart, James, 31, 312, 313, 314,

329
Stewart, Roy, 90
Stiller, Mauritz, 185, 194, 195
Stokowski, Leopold, 293, 332
Stolen Heaven, 226
Stone, Fred, 91
Stone, Lewis, 204, 237, 303
Stonehouse, Ruth, 37, 68
Story of Gosta Berling, The, 185
Story of Louis Pasteur, The, 287
Strange Interlude, 249
Stravinsky, Igor, 333
Street Angel, The, 205
Street Scene, 232
Strictly Dishonorable, 327
Stroheim, Erich von, 61, 83, 89,

126, 127, 135, 154, 161, 171,

204, 215
Stromberg, Hunt, 273
Strong, Austin, 196
Strong Man, The, 175
Strongheart, 162
Struther, Jan, 338
Student Prince, The, 191
Sturges, Preston, 327
Sudermann, Hermann, 197, 268
Suds, 102
Suez, 310

Sullavan, Margaret, 310
Sullivan's Travels, 327
Sunny Side Up, 218
Sunrise, 197
Suspicion, 336

Sutherland, Edward, 28, 264
Swain, Mack, 39, 55, 169
Swanson, Gloria, 25, 37, 39, 55, 58,

84, 87, 88, 106, 121, 134, 140,

167, 206, 215, 274
Swedie, 37

Sweet, Blanche, 23, 68, 134
Swickard, Joseph, 118

INDEX

Tabu, 241

Tale of Two Cities, A (1915), 53,

89
Tale of Two Cities, A ( 1935), 286
Tally, T. L., 5
Talmadge, Constance, 61, 62, 75,

84, 89, 154
Talmadge, Natalie, 89, 147
Talmadge, Norma, 89, 138, 147,

173, 206
Taming of the Shrew, The, 214
Taming the West, 148
Tarkington, Booth, 120, 149
Tarzan the Ape Man, 255
Taurog, Norman, 242, 258
Taylor, Deems, 332
Taylor, Dub, 313
Taylor, Estelle, 149
Taylor, Robert, 297, 310
Taylor, Sam, 214
Taylor, Valerie, 277
Taylor, William Desmond, 58
Tchaikovsky, Piotr Ilyich, 332
Tearle, Conway, 138
Tellegen, Lou, 22
Temple, Shirley, 111, 275, 289
Temptress, The, 195
Ten Commandments, The, 136-138,

246
Terry, Alice, 116, 118
Tess of the D'Urhervilles, 29
Tess of the Storm Country, 120,

143
Test of Honor, The, 132
Texas Rangers, 290
Thackeray, William Makepeace,

280

Thalberg, Irving, 244, 290, 300
Thanhouser Company, 8, 35
They Knew What They Wanted,

326
Thief of Bagdad, The, 145-147
Thin Man, The, 273, 295
Thomson, Fred, 71
Thorpe, Richard, 304
Three Comrades, 310
Three Little Pigs, 268
Three Musketeers, The, 111-113,

142
Three Smart Girls, 293
Thunder Below, 247
Thy Name Is Woman, 157
Tibbett, Lawrence, 227, 278
Tiffany Pictures, 225
Tiger Love, 149
Tillie's Nightmare, 42
Tillie's Punctured Romance, 42, 223
To Have and to Hold, 121
Tobin, Genevieve, 297
Tol'able David, 116, 143
Toland, Gregg, 334
Tolstoy, Leo, 197, 236
Tom Sawyer, 232, 308
Tone, Franchot, 261, 272, 282, 283,

310
Top Hat, 285
Topper, 305

Torrence, David, 143

Torrence, Ernest, 143, 145

Torrent, The, 195

Tourneur, Maurice, 129

Tower of Lies, The, 160

Tracy, Spencer, 264, 292, 296, 299

Trader Horn, 240

Trask, Wayland, 57

Trespasser, The, 215

Trey of Hearts, The, 36

Triangle Pictures, 60, 67, 68, 84,

175
Trifling Women, 112
Triumph, 153
Trouble in Paradise, 256
Tuck, George Loane, 13
Tucker, George, 90
Tucker, Richard, 203
Tugboat Annie, 263
Tully, James, 210
Turpin, Ben, 54, 56, 57
Twain, Mark, 232, 239
Twelve Miles Out, 195
Twenty-three and a Half Hours'

Leave, 189

Ugly Duckling, The, 315
Ukulele Jane, 16
Ulric, Lenore, 69
Underworld, 193
Unholy Three, The, 163
Untamed, 215

Vagabond King, The, 229
Valentino, Rudolph, 116-118, 119,

125, 149-151, 167, 178, 180
Valley of the Moon, The, 33
Valli, Virginia, 80
Vampire, The, 25
Van Dyke, W. S., 63, 273, 296
Vanishing American, The, 165
Vanity Fair, 280
Varconi, Victor, 192
Variety, 199
Veidt, Conrad, 95
Velez, Lupe, 110, 236
Veriscope, 6
Vernon, Bobbie, 38, 58
Victory, 325

Vidor, Florence, 180, 193, 204
Vidor, King, 172, 194, 219, 232,

290
Vignola, Robert, 20
Vitaphone, 201, 203
Vivacious Lady, 312
Vive la France, 82
Vlasek, June, 274
Voltaire, 269

Wadsworth, Henry, 273
Waking up the Town, 160
Walker, Johnny, 110
Wallace, Dorothy, 135
Wallace, Richard, 309
Walsh, George, 179
Walsh, Raoul, 46, 182, 206
Walter, Eugene, 233

349

Walthall, Henry B., 23, 46
Wanger, Walter, 285, 308, 315
War Brides, 66, 115
Warner, H. B., 199, 301
Warrior's Husband, The, 261
Washburn, Bryant, 25, 80, 83
Washington, Booker T., 46
Watt, Charles, 58
Way Down East, 104, 123
Way of All Flesh, The, 199
Wayne, John, 329
Weber, Lois, 32, 67, 182
Wedding March, The, 204
Weissmuller, Jolinnv, 255
Welles, Orson, 333-334
Wellman, William A., 189, 210.

302, 305
Wells, H. G., 261
West, Charles, 29
West, Mae, 251, 266
Western Blood, 85
Westley, Helen, 294
Westover, Winifred, 63
Whale, James, 225, 261, 294
Wharton, Edith, 317
What Happened to Mary, 30, 97
What Price Glory?, 182," 217
Wheeler, Bert, 218
Where Are My Children?, 32
White, Pearl, 97-101
White Sister, The, 165
Whitman, Walt, 61
Whittv, Dame May, 304, 336
Why Change Your Wife?, 106
Widow by Proxy, 93
Widow Jones, The, 4
Wieck, Dorothea, 264
Wiene, Robert, 94
Wilcox, H. H, 10,
Wilde, J. P., 68
Wilde, Oscar, 141, 165
William, Warren, 100
Williams, Emlyn, 304
Williams, Kathlyn, 94
Wilson, Carey, 179
Wilson, Harry Leon, 156
Wilson, Lois, 78, 145, 165
Wilson, Margery, 63
Wilson, Mortimer, 146
Wind, The, 205
Windsor, Claire, 53, 182
Wings, 188-189
Winning of Barbara Worth, The,

176
Winninger, Charles, 294
Wolheim, Louis, 134, 182, 222
Woman of Affairs, A, 222
Woman of Paris, A, 133, 134
Woman of the World, A, 171
Woman Thou Gavest Me, The, 108
Women, The, 323
Wood, Sam, 321, 334
Woods, Eddie, 241
Woolsey, Robert, 218
Wrath of the Gods, The, 35
Wrav, Fay, 204

350

INDEX

Wright, Teresa, 336, 338
Wuthering Heights, 318
Wycherly, Margaret, 325
Wyler, William, 297, 299,
336, 338

Young, Clara Kimball. 83
Young, Loretta, 207, 257
Young, Roland. 2S2, 283,
318, Young, Robert, 310

Yt)iiii£ in Heart, The, 309
Younge, Lucille, 29

Yeats-Brown, Francis, 282

You Can't Take It With You, 313 Zaza. 48

108, 155 Ziegfekl, Florenz, 298

310 Ziegfekl Follies, The, 105, 109,

305, 309 134, 169, 264

Zola, Emile, 267, 306, 307

Zoo in Budapest, 257

Zudora, 36

Zukor, Adolph, 21, 22, 29, 48, 49,
51, 65, 106. 167

A pictori*

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