A Pictorial History of The Movies (Taylor, Deems, 1885-1966)

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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
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.
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 publishers' desire to co-operate as fully as possible with the objectives of the War Production Board and our government.
2.
SECOND PRINTING
ALL RIGHTS RESERVED

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
COPYRIGHT, 1943, SIMON AND SCHUSTER, INC.
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
whose names appear
publishers wish to thank the motion-picture companies,
in the
captions, for their permission to
reproduce copyrighted photographs. In addition thanks are
due the Museum of Modern Art
for generously
3 (above), 4 (below), 6 (below),

left),
14 (below), 18 (below
7, 8,
left),
11 (above
19 (above), 22
(above right), 23, 24, 27 (below), 28 (below), 30,

31
(above), 33 (above), 34 (above), 35 (above
and below), 36
right
(above),
38
(below), 39
making available the photographs on pages:

186 (above), 188 (below
(above),
193
left),
189 (above), 192
(above right and below
left),
194
(above), 195 (below), 197 (below), 198 (above),

202, 203 (above
and below
right),
and below), 204 (above
left
left
205 (above), 206 (above), 209
(above right and below), 41, 42, 46 (above), 49
(below), 215 (below), 217 (below), 219 (above),
(below), 55 (below), 56, 61 (above), 63 (above),
220 (below), 221 (below), 222 (above), 224, 225

(below), 227 (below), 228 (above), 230, 232
65
above )
right),
66
above
left
and below
67
above
70 (below), 74 (below), 75 (below), 78
(above right), 80 (below), 82 (above right), 83

(above
92,
left),
94
86 (below), 87 (below), 90 (above),

(above), 104
(below), 103
(above right),
111
(above), 110
(above right), 115
(below),
(above right and below), 238, 241, 245

right),
254
(above
247 (below), 248 (above), 252 (below),
(below),
255
(above),
256
(above),
261
(below), 264 (above right), 266 (above right and
below), 270, 271, 272 (above), 273 (above), 277
116, 117, 119, 122 (below), 123, 124, 127 (below),
(above), 280 (above), 281, 282 (above right and
and below), 144 (below),
below), 283 (above), 284, 285 (below), 286, 287,
130, 131, 134 (above left
145 (above
left), 146,
low), 149
(below),
(above),
158,
(above),
163
159
147 (above right), 148 (be150,
(below),
(above
right),
288, 289, 290, 291, 292, 293, 295, 296
(above),
160
(below),
161
297 (below), 298, 299, 300, 301, 302, 303 (below),

304 below), 305 (below), 306 (below), 307
165
(above),
166
(above), 308, 309 (above), 310, 312, 313, 314, 315
152 (above), 153
151,
(above), 168 (below), 169 (below), 170, 172, 173
(above), 316, 317, 318, 319, 320
(below), 175 (above), 179 (below), 180 (below),
(above), 324 (below), 325, 326, 327, 328 (above),
182 (above
The
left),
183 (above), 184 (above), 185,
Picture Collection,
(above), 322
329 (above), 330 (below), 338.
The New York Public
Library, kindly
made
available the photo-
graphs on pages:
43,
166
(above),
187,
193
(below right), 240
(below),
248
(below),
(below),
244
250,
252
(above
left),
294, 297 (above), 303 (above), 304
(above), 320 (above), 321, 322 (below), 323, 328
(above), 253 (above), 257 (below), 258 (above),
(below), 329 (below), 330 (below), 334 (above
260 (above), 262 (below), 266 (above left), 267

(below), 275 (above right), 276 (below), 285
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
Herbert R. Cahn planned the layout and typography, and

Bart Keith Winer saw the book through press.
his valuable assistance. Finally,
CONTENTS
1.
BIRTH AND INFANCY
2.
GRIFFITH TURNS A PAGE
3.
THE TWENTIES
4.
COMES THE REVOLUTION
5.
THE TALKING PICTURE
(1893-1914)
(1915-1919)
(1920-1927)
45
97
(1927-1928)
(1929-1941)
201
213
APPENDIX
339
INDEX
341
may be considered
ancestor of all motion pictures the
movie to begin movies. It was drawn by an anonymous artist, about twenty-five thousand years ago,
This drawing of a running boar

the
common
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 picture is in its infancy." Today, whenever a particularly 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 ancestor, 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 playwrights. 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 released. Its producer, Edwin S. Porter, died on
April 30, 1941, at the age of seventy-one. David
Wark
was
Griffith,
the great pioneer of the pictures,
sixty-three years of age in 1943.
Now
go
back twenty-four centuries. Compare the progress 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 shortcomings 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 producers. 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 serving 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 thousand 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

rate motion picture
first-
generally thankful if he
can get his investment back, let alone make a
is
profit.
Furthermore, here is an art that had to change

basic technique almost overnight. Up to 1927
the motion picture was pure pantomime, and
had developed that art to an astonishing degree
its
of effectiveness. Suddenly, with the production

of The Jazz Singer, producers, directors, and
were confronted with the necessity of

combining pantomime with dialogue two elements that had hitherto been considered irreconcilable. At first they floundered. The earliest talking pictures were, most of them, little
more than animated photographs of stage plays.
But "all-talking" pictures didn't work. The mysterious quality of personality, which so helps an
actors
actor to hold his audience, is vastly diluted in

a photograph, even though the photograph may
move and
speak. Scenes of uninterrupted diawithout action, however effective they

have been in the theater, were a bore when
logue,
may
they were transferred
literally to the screen. On

the other hand, the exaggerated gestures and
play of facial expression, so indispensable to the
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 modern motion picture is about two-fifths dialogue,
three-fifths mute action. The camera technique
silent pictures,
of the silents close-ups, half shots, long shots,
variety
in
and camera angles is remove, gesture, and "mug"

than they do on the stage. Music and
lighting
tained; but the actors
much
less
sound
effects are
an integral part of the picture,

otherwise silent sequences and
sometimes serving as a background for the diafilling
in
the
logue.
is the motion picture of today. This book
an attempt to trace, in visual terms, the evo-
Such
is
lution of that picture,
and
to
show you
its
pres-
INTRODUC HON
makes no pretense
of being a critiexcept in the most summary

sense, a history of the movies. It is, as the title
implies, a pageant, a chronological series of pictures 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 confine this record almost exclusively to American
ent status.
It
cal survey, nor
is it,
films.
Even
so, the series is inevitably incomplete

from detailed. In all probability no two
readers of this book will agree as to exactly what
and
far
and actors should have been included

show even a single
shot from every motion picture made since 1903
would require approximately fifty volumes the
pictures
or omitted. But reflect: to
With such a vast storehouse of

draw upon, the authors had no alternative but to make an arbitrary selection,
choosing such pictures as, in their belief, would
size of this one.
material to
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
I
'-4
1.
1835.
An
Birth and Infancy
early-nineteenth-century attempt to
By raising and lowering the
lever, the spectator made the cow obediently raise
and lower its head.
a.d.
show motion
pictorially.
FmiIij
Sound
Effects.
mid-nineteenth-century view
behind the screen of
of the sound-effects department
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.
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 photographing the successive phases of his action. For the first
time in history, continuous motion was photographically 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
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.
First
FRED OTT'S SxNEEZE
The
First
Movie
(1893)
Studio. Officially called
"The Kinet-
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.
ographic Theatre," popularly known as "The Black

Maria," the first movie studio was built for the Edison 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.
The First Movie Actor. Fred Ott, an erstwhile comedian who worked for the Edison Company in
1893, was the first subject chosen by Director Dick-
BELOW LEFT
Movie Exhibitor. The first important movie
it was called the Edison Kinetoscope. You
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.
The
First
exhibitor,
BELOW RIGHT
^^^^S*
fm Ws? w.
BIRTH AND INFANCY

thi.
Wonderful Mutoscope
FROM
LIFE
5L0T-KEEP TURNING CRANK TO THE
RIOHT,
MOVING PICTURES
IN
showinc
AND VOU WILL SEE
How
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 customers 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.
the Porto Rican Girls
Entertain Uncle
The
Sam's
Soldiers.
lucrativeness of the Kinetoseope soon brought
Here is a poster (about 1895)

one of the most successful of these, the Muto-
rivals into the field.
for
scope.
The
First Shocker.
1896 was
this one,
BELOW
Among the peep-show epics
showing May Irwin and John
of
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)
it
t-
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.
during the
BELOW
its
debut
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 Kinetoscopes 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
New
York,
standees.
Since the early motion-picture cameras were immovhad to move within a sharply
limited space. Here is Eugene Sandow next to Samson the most famous strong man in history doing his
stuff for the Kinetoscope.
able, the performers
ABOVE RIGHT
The American Biograph Company made

at
Hammerstein's Olympia Music Hall,
in
BIRTH AND INFANCY
Here is the battle

"Gentleman Jim" ) Corbett and
First CIiampionship-FigJit Picture.
between James
J.
Robert Fitzsimmons, at Carson Citv, March 17, 1897.

Rector photographed it on film for the
J.
Veriscope, a machine built for the occasion. Notice
the copyright sign painted on the edge of the ring.
Enoch
ABOVE RIGHT
Amet
model of Santiago
Harbor and in it staged and photographed the sinking 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 speIn 1898 E. H.
cial supersensitive
built a scale
"moonlight"
film!
The public be-
lieved him!
ABOVE RIGHT
In 1899 William A. Brady, on behalf of the American 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 twentieth 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
documentary film as a
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.
of today think of the
modern
THE GREAT TRAIN ROBBERY (1903)
Landmark. This same Edwin Porter, in 1903, produced die epoch-making film, The Great Train Robbery. Though in action and plot, it was a ten-cent
did tell a story generally considered the
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 Robbery, The Bold Bank Robbery, and so on attempting 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 mothriller, it
ABOVE LEFT
The Great Train Robbery featured George Barnes
(not by name, of course), and he brought the story
apex of excitement by discharging his gun full
in the faces of the spectators.
to the
first
tion picture as a storytelling
medium.
ABOVE RIGHT
In 1907 an obscure actor named David Wark Griffith 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
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 Central Park. The mustached Romeo is Paul Panzer.
Juliet's
bed.
the infant star of The Eagle's Nest being

by a stuffed eagle and being pretty disagreeable about it. Distant landscape supplied by
Here
is
carried off
ABOVE BIGHT
Another scene from Romeo and Juliet the duel be-
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
were more pretenSince sound did not matter, two or more pictures, as in this view, could be shot simultaneously.
tious.
studios in the Bronx
BIRTH AND INFANCY
10
In the late 'SO's H. H. Wilcox, a prominent citizen

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
of
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
and by 1900 had a population of five

hundred. Hollywood Boulevard, near Wilcox Avebuilding
lots
nue, looked like this in 1901.
THE NEW YORK HAT
(1912)
Girl Number One. In 1908

named Gladys Smith played a
Glamour
a fifteen-year-
old
child part in
David Belaseo's production of The Warrens of Virginia.
year later she applied for a job at the BioW. Griffith, who had aban-
graph Studios. David
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. Motionpicture actors were anonymous in those days, and
audiences knew her as "Little Mary" long before
she emerged as Mary Pickford.
.
11
In 1909 Griffith, working for Biograph, took a company to California not to establish permanent quarters, 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
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.
Griffith
BIRTH AND INFANCY
12
however, came after the advent of talking
William N.
cesses,
man
pictures.
Selig, a Chicago producer, was the first

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 version of Carmen. The bull-fight poster was made from
a tobacco carton.
to
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 eventually tired of acting and turned to directing pictures for
Mae Murray.
His greatest directorial suc-
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 Montgomery are Howard Davies and George Gebhardt.
The cowboy in the right-hand background is Art
Acord.

THE CODE OF HONOR (1907)
In the
same year Carl
BELOW
Laemmle organized
13
his Inde-
pendent Motion Picture Company, popularly known

as IMP. An ex-clothing-store manager from Oshkosh, Wisconsin (really!), he had arrived in Chicago 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 release 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
later to
of
become
Laemmle's
first
love, Biograph.
a producer in his
own
Thomas
right,
m, JANEt14e
Ince,
was one
directors.
RIGHT
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.
One
of
NQI
MARY P.-CKFORD
OWEN MOORE
3 KING BAGGOTT
4 THOMAS 1NCE"
5 JACK PICKFORD
C
7
ISABEL RAE
LOTTIE PICKFORC
SMILEY
WILLIAM SHAY-
5 JOE
9
0MP5.DAVID MILES
12
JOE MACDONALD
HAYWARD MACK
13
MPS. JOE MAC00NALI
JOHN HARVEY
I5GE0PGEL0ANETUCK
16 DAVID MILES
17 MRS PICKFORD
14
18
19
ROBERT DALEY
TONY GAUDIO
BIRTH AND INFANCY
14
New
The
In
exciting,
York American, exhibited a drawn motion picture he

had made Gertie the Dinosaur. Ten thousand drawings comprised the picture. Gertie was the first animated cartoon of any consequence and she was seldom surpassed until Walt Disney came upon the
screen twenty years afterward.
"girl" in the Baggott poster is Florence Lawrence (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 actress. Here she is in a rather less strenuous, if equally
mood.
1909, Winsor
McCay,
cartoonist
for
the
GERTIE THE DINOSAUR (1909)
15
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
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
are told that even Africans
genuine travelogue.
We
for
many
considered
it
authentic.
BIRTH AND INFANCY
16
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
erns in
Hollywood Comics. Having made West-
New
Jersey, Christie, "logically" enough, be-
gan filming comedy shorts
as soon as
he arrived on
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:
the
Harry Rattenbury, George

(cameraman), Al Christie,
Eddy Barry, Al's brother Charles, unidentified cameraman, 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
Janecke, Gus Alexander, unknown.
J.
standing, left to right,
French,
Anton Nagy
JACKANAPES
1910)
mob scenes had to riot with a cerdegree 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.
Players in early
tain
17
Dorothy Davenport (later Mrs. Wallace Reid),

Harold Lockwood, Donald MacDonald, and Eugenie
right)
Forde.
BELOW BIGHT
BELOW LEFT
Nestor comedies were ground out as fast as one or
two a week. Here is an early one, featuring (left to
later
(1913)
Nestor comedy,
featuring
Eddie
Lyons, Betty Compson (who later achieved stardom

in The Miracle Man), and Lee Moran.
BIRTH AND INFANCY
18
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 Christie's group was temporarily lodged. This was the
first studio especially built for a motion-picture com-
Remember?
Hollywood. The spot became the first cenHollywood production activities. To this day,
the corner of Gower Street and Sunset Boulevard is
known as "Gower Gulch" to the cowboy extras who
pany
in
ter of
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 unobtainable. This one comes from a picture released
by Vitagraph about 1911.
Remember?
Remember?
FROM THE MANGER TO THE CROSS
(1911)
19
m
I
v\
!';
***.*-
Jjji
A-
pfatrfTs^'S
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
One
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
canvas. In 1911, however,
Kalem went
in for
2*|
authen-
on a scale hitherto undreamed of and sent an

entire company abroad under Director Sidney Olcott. 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. Henderticity
son Bland, in white, portrays the Saviour; Alice Hollister, second from the right, is Mary Magdalene; Sidney
the blind man, with Jack
earth, while architectural backgrounds,
Olcott, crouching, right,
ing rooms to castles,
Clark, bending over him, one of the disciples.
from drawwere unashamedly painted on
is
BIRTH AND INFANCY
20
Because of
the
Manger
its
restraint
and reverential spirit, From

became an immense suc-
to the Cross
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 background. 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.
mowas Queen Elizabeth, produced in France by Louis Mercanton and

starring Sarah Bernhardt. Every stage actor's tragedy 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
In 1912
came the
tion picture as a
my
film destined to establish the
work
of art. It
one chance of immortality."
QUEEN ELIZABETH
(1912)
Besides introducing Bernhardt to the screen, Queen

Elizabeth laid the foundation for the spectacular career of one of filmdom's most famous and successful
producers Adolph Zukor. His idea was to produce
"famous players in famous plays," and the Bernhardt 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.
21
BELOW
Queen Elizabeth opened
ater, in
New
at
Frohman's Lyceum The-
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
22
"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
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 film version of the play marked her first

appearance under the Zukor banner. During her succeeding years with Famous Players, Mary Pickford
became world-famous. Here she is in the film verDevil.
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 Elizabeth and Lou Tellegen, her leading man, as Essex.
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.
BELOW
Zukor and Frohman, after the success of Queen
Elizabeth, began to make good their promise of
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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 fourreeler. It was one of Griffith's first California pictures and featured Henry B. Walthall and Blanche
Sweet (seen above).
BELOW
1913 shot of D. W.
man is the famous G.
Griffith at
W.
work. The camera-
("Billy") Bitzer. At the
obviously desperate at having had his fifth

consecutive wrong number, is Henry B. Walthall.
The picture is The Escape.
right,
BIRTH AND INFANCY
24
Famous
Players
was the
first
company
to lay par-
on acting ability and, in pursuit of this

policy, induced many stage stars to appear in pictures. 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 directed by Daniel Frohman and our old friend, the
producer of The Great Train Robbery, Edwin S.
Porter. Incidentally, motion-picture sets were obviticular stress
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,

it lying down in an Essanay epic of 1912.
taking
BELOW
Or were the
improving? The bread and cot are

convincing enough, but the dungeon wouldn't fool
sets
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
25
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
was destined to lose him and to

bad end. A scene from the first of the series (about 1913), entitled, oddly enough, The Vampire, is shown above, with Miss Hollister and Harry
Millard. Millard's pose is suggestive of Fred Allen's
picture) that she
come
to a
definition of a
woman
gentleman as "one who never
with his hat on."
strikes
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, professional
won
bicyclist,
a Most
model, and actor, he

contest sponsored by
the strength of this he got
sculptor's
Handsome Man
The Ladies World. On
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. Incidentally, 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
26
Here
Miss Hollister again, vamping away in The

The faintly wrinkled tights are a concession to the 1913 moral code of the movies.
is
Destruijer.
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
ABOVE RIGHT
The year 1913 saw one of the first foundations
what
is
started
Selma Avenue and Sunset Boulevard.
of
now Paramount
Pictures, Inc. Jesse Lasky

a cornet player, doing the
his career as
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
Man
to
make The Squaw
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. DeMille, in the light suit and hunting boots, stands between the two tall cowboys in front of the stage a
little to the right of the barn.
their
first
THE SQUAW MAN (1913)
27
Another view of the Lasky stage. Hollywood's utterly dependable sunshine, for at least eight months
of the year, made it an ideal spot for picture making. Artificial lighting
stages could
risk of
be
monkey
left
was unnecessary, and the open
exposed
business
weather with no
to the
by Jupiter
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, director; 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-
Pluvius.
rector.
BELOW LEFT
After a
few weeks
of shooting,
shipped the print of The
DeMille and Farnum

to Lasky and
Squaw Man
New York, and they lost no time in

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 responsible for all the early Lasky pictures. Lasky is
Goldwyn
putting
in
it
^^^HIMWMPB
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'"Si
-^
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m-
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* in
tV
4r-
'
-m^l ****S*
^"m.
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BELOW RIGHT
Lasky offered Dustin Farnum several thousand dollars' 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 star.
The well-nourished
figure at the right
is
BIRTH AND INFANCY
28
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 Director 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
famous, and by 1914 he had

are
some members
Company. Within a year
men
comedies were
to right:
Sterling,
Teddie Sampson, Polly Moran, and Eddie Sutherland, Meighan's nephew and now a director and
producer in his own right.
Another
his slapstick
Here
studios.
who won their spurs under Sennett. 1,-eft

Thomas Meighan, Mabel Normand, Ford
to eye with him, Sennett had to be content acting 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
eye
hiôwn
of the original Keystone troupe
BELOW
still
died
from The Squaw Man. Whatever squaw
of, in
those days,
it
wasn't starvation.
^M-
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 suggests 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.
29
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
30
Mabel Normand was an expert swimmer and diver,

and her combination of athletic ability and pulchritude appealed to Sennett as having possibilities. They
had. Mabel Normand was probably the best-loved
comedienne ever seen on the screen.
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.
ler,
BELOW
ABOVE BIGHT
The mother
of a
serial
pictures appeared in 1912
and 1913. What Happened
to Alary ran on the

screen simultaneously with a monthly episode published in The Ladies' World. The star was Mary Ful-
Sennett occasionally appeared in his own pictures.

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
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.
Pies
31
BELOW
Came
many things happened. 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.
the year 1914, in which
BIRTH AND INFANCY
32
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
own pictures. They are shown here in

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
harassed father.
My Children? 1916), an earnest treatise on abortion,

produced by Universal. Like so many other Holly(
BELOW
acted in their
False Colors.
popular team of 1914-15 were Lois Weber and her

husband, Phillips Smalley, who wrote, directed, and
wood
discussions of the taboo subject of s-blank-x,
it
evoked anguished protests from the godly and shekels

from the box office.
FOOL THERE WAS
(1914)
33
cycle of vampire pictures went merrily on its

way, greatly abetted by a new producer, William
Fox. Having undertaken to produce a picture suggested by a line of Kipling, "A fool there was," Fox
The
was prevailed upon by
his director,
Frank Powell,
to
an unknown Theodosia Goodman as the vamp.

Here she is, in A Fool There Was, with Edward Jose
but not under that name.
cast
Barranger.
The
result,
Theda Bara, vamped her way
through some forty Fox pictures
the next three

was a boon
to exhibitors and an unending source of worry to the
censors. Above, Theda meets an old admirer on the
years, establishing a box-office
docks in
in
name
that
Fool There Was.
BELCW
ABOVE RIGHT
who ever heard of a vampire named

Theodosia Goodman? So Theodosia became Theda,
and Goodman was swapped for another family name,
Let's face
it:
in Jack London's The ValMoon, as made in 1914. Playing opposite

her is Jack Conway, a young actor who later became
one of M-G-M's ace directors.
Here
is
Miss Steadman
ley of the
34
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 appropriate to the subject.
BIRTH AND INFANCY
Famous Players put forward their version of the vampireAlice 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)
35
The Mil-
Bosworth's production of London's John Barleycorn
as the installments of the picture appeared.
intrepidly exposed the evils of strong drink. It re-
lion Dollar
ceived the hearty support of the W.C.T.U. The caption: "I made my first acquaintance with John Barleycorn at the age of five."
complete, and grossed a million and a half. The

scene above, "The Episode of the Conveniently
Placed Burning Glass" or something of the sortshows Marguerite Snow and Donald Gallaher.
Mystery cost about $125,000
to
make,
ABOVE RIGHT
The
gained rapid headway. The most successful was The Million Dollar Mystery, made by
Thanhouser, featuring Marguerite Snow, Florence
LaBadie, and James Cruze. The story, about a mysteriously missing heiress, was first released as an actual
news item and was headlined throughout the country. It then ran serially in die Chicago Tribune
BELOW
serials
Thomas
become
had abandoned acting and

and producer. One of his most
spectacular productions was The Wrath of the Gods,
which appeared in 1914. It was worthy of comparison with the better efforts of Griffith and DeMille,
as this
Ince, meanwhile,
a director
still
shows.
BIRTH AND INFANCY
36
Mystery had to have sequels, of

them was Zadora, concerning which
Tlie Million Dollar
course.
One
of
information is scanty, save that it included the scene

shown above, right-hand-drive cab and all. The gentleman lurking at the right is James Cruze, whose
fame rests more solidly on the fact that he later directed The Covered Wason.
Universal did
its
share of starting the epidemic of

of }iearts in 1914.
Cleo Madison, with George Larkin.
serials
by producing The Trey
Above
is its star,
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
By 1914
started a
1914)
37
the success of the Keystone Comedies had

wave of emulation. Essanay introduced a
new comic a young man who had gone from
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
38
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. Facing him, and reading, for once, from right to left,
are Roscoe
Mann, Al
St.
(Fatty) Arbuckle,
Rube
John, and George Jesky.
Miller,
Hank
typical Keystone
The
Cop comedy
of 1914.
Never mind
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
the name.
rest is history.
girl is
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, chasing the girls, and acting as a foil for Mabel Normand
and Gloria Swanson.
The
ABOVE RIGHT
King
scepter of Pie-Throwing
fell, however,
from Ford Sterling's hands right into Roscoe (Fatty)
Arbuckle's, who first appeared on the stage as a blackface monologist, began his movie career as a five-
dollar-a-day extra on the Sennett lot. The Master

first, to a Keystone Cop and, later,
to
promoted him,
costar with Sterling.

the Heiress.
Above
is
still
from Fatty and
BELOW
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.
suddenly virtuous public demanded the exclusion of
his films from all motion-picture theaters. Below, the
Fatty's
King of Custard emotes in Fatty's Flirtations. The

girl just above him is Mabel Normand.
BIRTH AND INFANCY
40
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
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 Keystone Company. His name Charles Chaplin.
at
CAUGHT
Nobody sensed it at the time, but Chaplin is one of

the three authentic geniuses the films have produced.
anybody suspected
Chaplin in one of his
If
in
it,
Mack
first
Sennett did. Here is

Sennett pictures, Caught
a Cabaret.
One
tume
to
says that he deliberately chose the cossymbolize shabby gentility. Another holds
that Chaplin hastily borrowed the costume from
friends for his
first day of shooting on the Sennett

In any event, here is the famous ensemble as
exhibited in the 1914 production, Between Showers.
lot.
BELOW
Many
cane.
are the legends about the origin of Charlie's

classic derby hat, baggy pants, oversize shoes, and
Facing him is Ford Sterling. In the background, at

left, is Chester Conklin.
the
42
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.
BIRTH AND INFANCY
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 terrific hit. Besides presenting Marie Dressier as a definite screen personality, the film established Chaplin
as a great comic star.
PUNCTURED ROMANCE
TILLIE'S
the gay nineties,

Fourteenth Street, in
In
Huber's
Museum, on West
New
York, offered entertainment 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-
(1914)
43
ture houses, though
still
retaining the
and the vaudeville show. Here
The
it
is,
penny arcade
as
it
appeared
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.
in 1914.
Griffith
Turns a Page
Nineteen fifteen was a momentous year for motion

;
the production of a film
t witnessed
that was, and still remains, a masterpiece of cinematographic 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 Biograph days. Griffith is the greatest innovator the
screen has ever known. Such devices as the close-up,
pictures, for
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
46
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 entertainment, but also a document of what, today,
would be called social significance. Griffith was born
January 3, 1875, the son of a Confederate colonel, and was inevitably a fervid Southern 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 controversy. 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 previous 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.
in Kentucky,
PAGE
BELOW LEFT
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 (Stoneman'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.
The
cast
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 sentry 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
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.
for a
THE BIRTH OF
NATION
(1915)
47
!
Griffith,
W.
abetted
by
his
extraordinary cameraman,
achieved a hitherto undreamed-of

realism and excitement in the battle scenes.
G.
Bitzer,
It
was
Griffith,
too,
who
first
thoroughly explored
the dramatic possibilities of the panoramic long shot.

Notice the superb composition of this view of Sherman's march to the sea.
GRIFFITH TURNS
48
Motion-picture acting was steadily improving in

One contributing factor was Adolph Zukor's
consistent policy of bringing prominent stage actors
to the screen. Pauline Frederick joined famous Players 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.
quality.
Meanwhile, Famous Players' pet
star,
Mary
PAGE
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
glamour boys. Just to the

Donald Crisp, minus General's Grant's
whiskers. Douglas Gerrard stands directly back of
her. The gloomy youth with his arms folded is Marof the contemporary
left of
her
is
shall Neilan.
ENOCH ARDEN
1915)
Under Zukor, the photography of her pictures improved 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.
its
particular star in Swedish-born
is
from
woman
Sisters Burden,
in black
is
made
in
1915.
The
Alice Hollister.
BELOW
Wallace Reid had tried
drifting into
until his
pictures.
his
hand
He
at various jobs before

attracted little attention
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
ABOVE RIGHT
Kalem had
It
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.
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.
50
In 1915 Carl Laemmle (above, center) realized a

long-cherished ambition by opening the new Universal 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)
51
Lasky and Goldwyn scored a tremendous beat over
The nation-wide
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
rar 's entry into the
Famous
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 Carmen, with Pedro de Cordoba, shown above, and
Wallace Reid, not shown.
publicity resulting from Miss Farmovies was well worth the money
Lasky and Goldwyn spent on her. Carmen, opening

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.
in
Carpenter.
PAGE
William Fox, meanwhile, resolved
to present his in-
ternational vampire, Theda Bara, in his

the Merimee classic. His Carmen opened
version of
in
Novem-
The critics agreed that Miss Farrar's production, direction, script, and acting were better.
The Bara version got to first base, but never scored,
ber, 1915.
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 reasonably plausible imitation of acting. All of which does
not apply to Clara Bow, Corinne Griffith, Claire
Windsor, Mary Philbin, and Gertrude Olmsted, si-
53
who entered the movies via the beautycontest route. Above, Al Christie (hatless, in the
center ) is about to direct the very first beauty-contest
lent stars
picture.
Note the absence of bathing
suits.
BELOW
." Maurice Costello
a far, far better thing
goes to the guillotine in Vitagraph's production of A
"It
is
Tale of
Two
Cities.
54
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 Turpin, Heinie Conklin, and Paddy McQuire, with an
unidentified songster at the end.
Chester Conklin.
The
choir leader
is
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 subsequent 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
and Phyllis Haver is on his

would be even more exciting if
directly to his right
left.
there
The
picture
were
lines attached to those poles.
55
BELOW
The
Hollywood are less than sixteen

miles from the Pacific; and while the Bathing Beauties were not encouraged to take such a radical step
as actually to go into the water, it was deemed appropriate to photograph them against an ocean background. 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.
city limits of
GRIFFITH TURNS
56
The
costumes were the most daring believe it

in public up to 1917. Above, Chester
Conklin is in the center or a scene of modified abandon. Marie Prevost is on his right.
or
girls'
not Seen
BELOW
Chaplin had a successor on the Keystone lot, Ben
Turpin was undoubtedly it. Thanks to a pair of magIf
PAGE
and an uncanny knack of takwithout 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).
nificently crossed eyes
ing horrifying
falls
THE CLEVER DUMMY (1917)
The beach
at Venice, California,
was the
57
favorite
location for shooting the Bathing Beauty pictures.
a scene in the making. The girl in the plaid

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.
Here
is
skirt
is
The
Symphonies and other animated cartoons

nothing of Screeno have pretty well usurped
the place held by the old two-reel slapstick comeSilly
to say
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.
58
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 Vernon, in a 1915 Mack Sennett opus.
ABOVE RIGHT
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.
One
of the
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 sponsored by the Chicago Tribune. The producers offered 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 Cummings, 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 Humphries ( on the floor ) Eugenie Forde, Desmond Taylor (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
And who should
1915)
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.
59
BELOW
Helene Chadwick, before playing leads in feature
pictures, served an apprenticeship in the serials.
Here she is, widi Frank Redman, in Getaway Kate.
60
you cad!" In 1915 Jack Holt was playing

above humiliating encounter with Francis Ford and Grace Cunard. Had
the picture been made fifteen years later, Jack would
be standing in Ford's place.
"Take
that,
serial villains, as witness the
In 1915
Thomas
Ince,
BELOW
Mack Sennett, and David W.
pooled their resources to produce jointly

name of Triangle Pictures. A year later
they acquired land on the ocean front north of Santa
Monica, about fifteen miles from Hollywood, and
Griffith
Tinder the
there built their studios.

Inceville,
and
it
The place was known

of M-G-M.
was an ancestor
as
INTOLERANCE
1916
The Birth of a Nation had established

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
The
success of
Griffith
in to kibitz.
as
it was employing thousands of

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
picture, except that
extras
61
Cooper
is
doing the acting.
BELOW
The new
picture, released in the fall of 1916, was

Griffith depicted the spirit of intoler-
Intolerance.
ance through the ages by means of four parallel stories: 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 endlessly 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 background and costumes. Catherine, played by Josephine
Crowell, stands directly in the center.
62
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
63
The alumni
association of Intolerance must include

more than a score of present-day well-known actors,
directors, and other celebrities. Here is Eugene Pallette, for instance, with Margery Wilson in a sequence 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 foreground with those visible through the arch, on the
farthest wall.
64
One
of the finest examples of Griffith's genius for

composition and lighting is this scene of the massacre of the Huguenots. Intolerance, though a failure, 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
65
In 1916 Lasky Feature Pictures merged with Zukor's

Famous Players. Under the name of Paramount Pictures 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 Marshall as Fagin and Hobart Bosworth, deserting romantic he-man leads, as Bill Sykes. The man with
the top hat is Raymond Hatton.
Every
actress
wants
or screen. Beverly
Romeo
to play Juliet,
Bayne acted the
whether on stage
role opposite the
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.
66
The most
spectacular Fox production of 1916 was

Daughter of the Gods, which exploited the talents
and figure of the swimming champion, Annette Kellerman. The picture was filmed in Jamaica, where
Director Herbert Brenon practically rebuilt one end
of the island, imported a troupe of camels, and rea 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 proceedings. The injunction was denied, Fox relented
and put back the screen credits, the picture made a
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.
stored
lot of
money, and everybody was happy.
Lewis J. Selznick brought another stage star to the

screen in his production of War BridesAlia Nazimo.va, who repeated her success in the theater. Herbert 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
67
above, with Bessie Love, in a scene from The

Bad Man, a Triangle production of 1916.
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 established stage reputation in light
comedy.
He
Good
appears
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 directed the film.
68
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
another Triangle star was Belle Bennett, shown
here in a scene from The Judgment of the Guilty,
with Jack Livingston.
Still
BELOW
Ruth Stonehouse had been a professional dancer before 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 protecting a protege from the strong arm of the law
is defending
(J. P. Wilde). The young man she
hardly looks like star material, does
John Gilbert.
lie?
His
name
is
THE INTRIGUE
1916)
69
Lenore Ulric has been flitting back and forth between stage and screen since 1912. She appears here
in a scene from a 1916 epic, The Intrigue. The villain (villains always wear smoking jackets) is How-
The Westerns continued merrily

num did his bit in, among other
ard Davies.
Kingston
of Panamint. In this scene

(
second from
left
along. Dustin Far-
The Parson
he appears with Winifred
)
things,
GRIFFITH TURNS
70
PAGE
BELOW
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.
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
The king
Bessie
of
Love
all
in a scene
from The Aryan.
THE SILENT BATTLE (1916)
The stagecoach holdup and
die chase were sure-fire
and practically obligatory episodes
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 Wilin
71
still
of Fred
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
his
famous horse,
Silver
BELOW
liam Tell.
Thomson on
King.
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

between Ken Maynard and Tom Bay on top
of the butte.
fracas
GRIFFITH TURNS
72
to Jack Hoxie, this is what the welldressed cowboy wore at least if there was a camera
in the neighborhood.
According
PAGE
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.
ABOVE RICHT
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
Came
BELOW
1917, and with
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

Luke series, and established both
as the
73
Lonesome
principals as star
comedians. Judging from the shot above, Miss Dandid the hard work.
iels
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 mustache strongly reminiscent of the Chaplin foliage. As
a matter of fact, not until he abandoned the mus-
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.
tache and
74
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
Eric Campbell.
Bergman, Edna Purviance, and
BELOW
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.
SMALL TOWN GIRL
As long
picture,
as
it's
(1917)
75
1917, the year in which Fox made the

shot of Theda Bara
how about one more
as Cleopatra?
1IELOW
Another Fox
star
was June Caprice, seen here
in
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.
76
BELOW
Perhaps the greatest female impersonator
in history
was the Emperor Heliogabalus. A close second, however, 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?
Paramount's most ambitious production of the year

was Joan the Woman, Geraldine Farrar's fourth starring vehicle. It represented the best that the produc-
had to offer in the way of script, production, and

which included Wallace Reid, Hobart Bosworth, and Raymond Hatton. Below is the trial
ers
cast,
scene.
JOAN THE
WOMAN
(1917)
Cecil B. DeMille, who directed Joan the Woman,

had, like Griffith, a fondness for combining the present 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
77
( 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 elaborateness and realism of his battle scenes.
78
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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.
BELOW
J.
ABOVE KIGHT
Rebecca of Sunnybrook Farm, while not written for
her, was obvious starring material for Mary Pickford.
Paramount made it in 1917.
Remember "Have you
a little fairy in your home?"

picture that accompanied the famous Fairy Soap slogan? That was Madge Evans,
who became a child star in the movies and was one
and the
child's
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.
of the
'
THE LITTLE AMERICAN (1917)
The war gave
the female stars a chance to combine
79
The Pickford
curls influenced the coiffures of the
sample, The Little

American, starred Our Mary in 1917. In front of her,
either reading a map or his diploma, is Hobart Bos-
1910's as profoundly as Garbo's long bob was to influence those of the 1930's. Witness Vivian Martin's
hair-do in Molly Entangled. The young man ignor-
worth.
ing her
charm with excitement.
fair
is
Harrison Ford.
80
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
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 bestremembered of these, Easy Street, made in 1917.
After his
contract
EASY STREET
1917)
81
NOTICE
QAll employes of the Universal
'Jiltii
Company who
branch
ofthe
enlist
US. briny or Iky/
daring the present war

will
hw
for then
in any
crisis
their positions
hU
until mustered out
ofservice.
(rf.Q&AYis
President &
Vice
Ocnml in&nt&r
Universal
îlm %nufcturtn$m
f\
CUT
Standby
the President
The year 1918, and we were
Hilt.
in the
war up
to the
At the doors of Universal, as at the doors of so
many
other studios, this sign was posted.
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.
82
There was, of course, a sudden eruption of war pictures. Paramount released one, Vive la France, that
was no better and no worse than any other propaganda picture. Here is Dorothy Dalton in a scene
from the film, made by Thomas Ince.
ABOVE RIGHT
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 Dorothy Gish. The youth at the right is one Noel Coward.
Griffith,
BELOW RIGHT
BELOW LEFT
The Squaw Man had always been high in Cecil B.
DeMille's affections, since the original screen version had signalized his entry into pictures. Accordingly, 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.)
wasn't a question of recruitsthe 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.
It
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HEARTS OF THE WORLD
(1918)
83
HE
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
Hearts of the
the time.
The Vision
lar in
face
of the
those days.
ABOVE RIGHT
Loved One was immensely popuYou could never be sure when her
might pop out from a blank wall or an open
fire.
Bryant Washburn, for instance, shows no exces-
amazement at seeing Wanda Hawley

peering out from the theme song of The Gypsy
sive signs of
Trail.
BELOW
Clara Kimball Young was another favorite, her specialty 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.
84
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-
a villain
and ending
as
the love interest in light
comedy.
BELOW
he acquired Ince, Griffith, Sennett, Anita Loos,

and Douglas Fairbanks. Another of his acquisitions
was the one-time extra, Gloria Swanson, whom he
On
the stage, "matinee idol" usually
It's
different with pictures. Take, for instance, this
made a
One of
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
tors,
leading lady in a series of domestic dramas.

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
scene, from
The Gray
Cliiffon Veil.
rison
clothes, hats,
and
hair-dos.
means a man.
The man, Har-
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.
85
BELOW
Quite a different type was Tom Mix, who was just
hitting his stride as a popular hero when this picture, Western Blood, was made in 1918. The girl is
Victoria Forde.
86
Pickford's contract with Famous Players expired 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).
Mary
BELOW
Intolerance, despite
been a costly
its
importance
failure for Griffith,
had
and he was now
in retrospect,
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 comparatively 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)
87
Richard Barthelmess had been in pictures for three

it was his sensitive and touching performance as the young Chinese who befriends the little
slum girl, in Broken Blossoms, that set him on the
road to a brilliant career.
years, but
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!
88
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Another scene from A//e nc/ Female, with Lila Lee

and Thomas Meighan on the ends and Gloria Swanson very
much
in the
middle.
BELOW
Bessie Barriscale, who had begun her career as a
child actress, attracted such widespread attention by
-*1
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
Of the
Talmadge
three
(1919)
sisters Norma, Constance,
and Natalie Norma was the most consistently successful. She obtained her first dramatic experience
in posing for illustrated song slides and then went
to Vitagraph, where she played small parts in several Maurice Costello pictures. In one of these, A
89
men
in the industry. He's just cost his
million dollars."
The
company
fantastic assumption that the
Cities, she attracted the public's atten-
director who spends the most money must be the

best is probably based on the career of Erich von
Stroheim, whose autocratic methods, ruinous production costs, millions of feet of extraneous shots,
and genuine acting and directorial ability combined
Within four years she was a star. Here she is

playing a scene, with Stuart Holmes, from The New
to make him a famous screen villain and producer.

Von Stroheim came to America in 1909, eked out a
Moon, made
precarious existence as a salesman, gardener, dishwasher, 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.
Tale of
Two
tion.
in 1919.
BELOW
New York
Hollywood, where he
made a colossal picture that was an equally colossal
failure. Did it ruin him? Far from it. As one Hollywoodian remarked, "Now he's one of the biggest
Not
so long ago a certain highly touted
stage director
was called
to
The Miracle Man,

Paramount
in 1919,
directed
made
by George Tucker
for
stars of its three princi-
left), Betty Compson

pals: Lon Chaney (extreme
Meighan (thud
Thomas
and
coat),
dark
(in the
from right).
BELOW
The simple ceremony going on here shows
Alice
and Herbert Rawlinson as the notmustache, Ray

too-avid groom. Judging from his
is playing Papa.
left)
from
(second
Hanford
Lake
as the bride
LOMBARDI, LTD.
Today Bert
aged
Lytell
is
1919)
a well-known actor of middle-
Twenty years ago he was playing romanHe made his first appearance in The Lone
roles.
tic leads.
Wolf, a Brenon-Selznick production of 1917.

years
91
later
Two
he joined the Metro Company, which
featured him in a film version of the popular Lombardi, 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.
been sucEarly in 1919 Mary Pickford, after having

joined forces with
cessful as her own producer,
David
Douglas Fairbanks, Charles Chaplin, and
Griffith
United
to
form the famous foursome known as
Artists.
Each
of the quartet
was
his
own
producer, with entire control of casting, directing,

and financing. United Artists is a pretty imposing
three of the Big
title, but judging from this shot of
Four, Charlie, Mary, and Doug didn't take their
aesthetic responsibilities too, too seriously.
POLLYANNA
1920)
Miss Pickford's first United Artists picture, Pollyanna, directed by Paul Powell, appeared in 1920,
and its success vindicated her judgment. In the
scene above, Helen Jerome Eddy stands at the fireplace (extreme left), Doc Crane is in the center,
and Herbert Prior is second from right.
93
BELOW
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.
Next
to
94
important one was an importation, The Cabinet

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 terror 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.
Miss Clark proved as popular on the screen as she
first
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
of Dr.
the scene above,

Selig serial,
mous
is
Kathlyn Williams,
The Adventures
star of a fa-
of Kathlyn.
BELOW
Probably the
first
horror picture and certainly the
THE CABINET OF DR. CALIGARI
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.
(1919)
95
Despite the passing of twentv-odd years since its

first showing, Caligari was, and remains, a masterpiece of its kind.
3.
The Twenties
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
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.
Beginning in 1913, with
decade of the century saw this now-unimportant

type of film apparently destined for immortality. The
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97
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THE TWENTIES
98
The gentleman about to end it all is George B.

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
Seitz,
was an exacting task, but a wonderful training school. Seitz is now one of M-G-M's star direc-
action,
tors,
with among others the Andy Hardy
The man
series to
Walter McGrail, a
famous 1920 villain. Next comes, of course, Miss
White, with Wallace McCutcheon entering through
his credit.
the window.
at the left
is
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 sinister 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

White being hauled
trouble of his own, with Miss

out of the trapdoor.
99
BELOW
Here the
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.
situation
100
must have taken a good deal of faith in Miss

White's luck to sit through a situation like this and
believe she was going to get out of it.
It
THE TWENTIES
Never a dull moment. Warren William is now a

prominent leading man, but in those days he spent
his time coasting down millraces with Pearl White.
PLUNDER
1923
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.
101
"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.
THE TWENTIES
102
Another famous
serial star,
Ruth Roland, started in

and arrived in the
the theater at the age of four
movies via Morosco and Belasco road companies.

She appears here in Episode 3 of Ruth of the
Rockies.
Marshall.
The
director
of
the
series
was George
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
marry Douglas Fairbanks, and produced

Suds. Here she is, with Harold Goodwin, in Suds.
time
off to
THE MARK OF ZORRO
(1920)
Douglas Fairbanks made two pictures that year.

The first, The Mollycoddle, directed by Victor Fleming, gave him one of the breezy, go-getting roles
that had established him as a stage comedian.
103
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.
THE TWENTIES
104
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

time,
Way Down
East.
The
story
exactly fitted the talents of his
was
two
sure-fire
stars,
all
and
Lillian
Gish and Richard Barthelmess. In the scene above,
of the home orders the erring woman,

out into the cold. Lowell Sherman,
Barthelthird from left, is the villain, and Richard
will
mess, at the end of the table, is tire hero who
the
stem head
Lillian
Gish,
(who
rescue her. In back of the flowers is Mary Hay
became Mrs. Barthelmess) and next to her, with
glasses, Creighton Hale.
BELOW
cast in
In 1920, Cecil B. DeMille directed a star
Feet of Clay. In this scene, Ricardo Cortez sits at
with
the left. In the deck chair is Rod La Rocque,
the right of her is
Julia Faye just behind him. To
him.
Robert Edeson, with William Boyd next to
Between them, eying the captain with apprehension, 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 roadcompany 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 PlayersLasky 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,
ability and beautv made her a

featured dancer in The Ziegfeld Follies. Her dancing 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.
where her dancing
BELOW
Another scene from Feet of Clay, with Lillian Leighton (left), Vera Reynolds (in the undies), and
Lucien Littlefield.
106
Mintcr's stage performance in The LitRebel 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.
Mary Miles
tlest
THE TWENTIES
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 PlayersLasky in 1920. With her in this shot is Bebe Daniels
(left), promoted from Harold Lloyd comedies.
HUMORESQUE
1920
107
Lon Chaney followed The Miracle Man with an

equally successful performance as another cripple in
One
of the best pictures of 1920 was Humoresque,

adapted from Fanny Hurst's famous story of the little
Jewish boy
who became
The
a great violinist. Hearst's
Penalty.
Born of deaf-mute parents, Chaney
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.
Cosmopolitan Pictures released it through Paramount. Vera Gordon, shown here, gave a striking
performance as the boy's mother.
attributed his gift for
Ppl
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THE TWENTIES
108
{Catherine
MacDonald had
who
BELOW
a large and fascinated
followed her in a series of modernsophisticate 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.
public,
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.
Elsie Janis
JES'
CALL ME JIM
(1920)
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
109
rope-throwing act in The Ziegfeld Follies. The wisecracks 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,
drawl and comic delivery, did he

est fame.
to exploit his
rise to his great-
THE TWENTIES
110
The much-loved Will Rogers came by
a picture version of Will Carleton's lachrymose Over

the Hill to the Poorhouse, advertised, somewhat diffidently, by the Fox press department as "the greatest human drama of all time." Mary Carr and Johnny
Walker are here helping to make it so.
his screen
career honestly, for he served part of his apprenticeship 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
Famum's brother, William, had had a no

distinguished career as an actor, beginning with
spear carrying for Booth and Barrett. His first picture 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.
Dustin
less
BELOW LEFT
Another Fox production of 1920 was Over the
BELOW RIGHT
agents make
They say
stars. They can

do the job unaided. Some press
that press
help, but they can't
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
agent decided that the
Hill,
it
refused to flock.
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THE KID
In
1920,
111
1920)
Chaplin made one of his greatest pic-
The Kid, a
who becomes
the
inadvertent foster parent of a small boy. The picture
introduced a child star who was as great a boxoffice 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
tures,
tale of a derelict
such a born scene stealer as Jackie.
ABOVE RIGHT
In 1921, the other members of United Artists all
made productions. Griffith offered Dream Street, reverting 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 settings, costumes, and casting. This scene shows Fairbanks as d'Artagnan, Leon Barry as Athos, George
Siegman as Porthos, and Eugene Pallette as Aramis.
THE TWENTIES
112
The
Women. Her
women
successful career.
three principal female roles those of the lovely

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 pictures after a career as dancer and musical-comedy
actress.
Her performance
in
started her on a course that
Prisoner of Zenda,
The Three Musketeers

included leads in The
The Eternal
City,
and
Trifling
untimely death in 1926 cut short her
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)
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-
113
BELOW
Mary
ing ability won her a secure place in pictures, but

she never attained the prominence of her sister,
was a highly sucLord Fauntleroy, in which

she played the dual role of Cedric Errol and Dearest, his mother. The scene below shows her
him
with her (his) grandfather, played by Claude Gil-
Katherine MacDonald.
lingwater.
Pickford's offering for 1921
cessful version of Little
THE TWENTIES
114
I.
Harold Lloyd scored another big
hit,
with
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
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
produce a
ended
his career.
CAMILLE
1921
115
Nazimova had been
in pictures since 1916,

Selznick introduced her in War Brides. While
the theater was the only existing medium then for
exploiting her extraordinarily beautiful voice, never-
Alia
when
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 Miller
and Rex Cherryman.
BELOW
Harry Myers, as the Yankee, here astonishes the
natives with his newly made Model T in A Connecticut Yankee in King Arthur's Court, which Emmett 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
In 1921 Richard Barthelmess left the Griffith lot to

work for First National. They put him in an adaptation 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 memorable to millions of movie fans was The Four
Horsemen of the Apocalypse. Richard Rowland,
president of Metro Pictures, conceived the idea of
THE TWENTIES
turning Blasco Ibanez' best-selling novel into a picture. Against the advice of virtually the entire staff,
who argued that the public didn't want war pictures, 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, Rowland 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)
born and educated in Italy, came to

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
Valentino,
America
in 1913.
117
He was Julio, to an extent that even Ibanez

could hardly have foreseen. In all three phases of
the character the dashing young Argentine horseman, the tango-tea habitue, and the mature patriot
his colorful personality, grace, and forcefulness
genius.
were
irresistible.
THE TWENTIES
US
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 effectiveness, 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
The
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 American moviegoer particularly the flapper, spinster, and
housewife what she yearned for: romance, terror,
mystery, the spell of the tropics, the lure of the desert, 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
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 DeMille directed for Paramount in 1922.
119
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 greatest success of the year. Agnes Ayres (left) played
the governess, and May McAvoy was Cora, the flapper.
BELOW
was Tess of the Storm Counan old stock-company favorite that gave Our
Mary a golden opportunity to be sweet, wholesome,
Mary
Pickford's newest
try,
and
optimistic.
THE IMPOSSIBLE MRS. BELLEW (1922)
As Lady Babbie in The Little Minister, Betty Compson scored a success that justified Paramount's making 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.
121
Another of Betty Compson's pictures that year was

To Have and to Hold, costarring Bert Lytell with
The
contrasting scenes, some at the court of

some in the Jamestown colony, together
with Indian fights and pirate skirmishes, gave Direc-
her.
James
II,
George Fitzmaurice an opportunity

he could do
tor
BELOW
Fairbanks' going to United Artists left a gap
in the Paramount ranks that was filled by Thomas
Doug
Meighan, whose
star
ascended steadily after The
Miracle Man. Here he is in a scene from If You Believe It, It's So, a crook comedy drama of 1922 in
which Pauline Starke played opposite him.
to
show what
BELOW
Swanson with no trace of Mack Sennett left
by now had The Impossible Mrs. Bellew, a gaudy
Gloria
vehicle that enabled her to
wear
exotic clothes
and
with dukes and millionaires at a French

watering place. Conrad Nagel, taking the whole
thing very much to heart, is on the right.
consort
THE TWENTIES
122
Remember that young extra in The Goat, back in

1919? Time passed, and by 1922 Ramon Samaniegos, the extra, had become Ramon Novarro, the
young figure of Metro's The Prisoner of
Zenda. Rex Ingram directed, with a skill and confidence born of his triumph with The Four Horsemen. Novarro is on the left, with Stuart Holmes on
clashing
the right.
is
The
a hobble
girl is
Barbara La Marr. That costume
skirt.
BELOW
had a not-too-prosperous year. His One Exciting Night, a mystery melodrama, fared mildly well.
Audiences seemed to be growing tired of the helpGriffith
less bit of
in
innocent femininity who aroused the beast

is winsome Carol Dempster arousing.
men. Here
ORPHANS OF THE STORM
(1922)
Despite Broken Blossoms and Way Doun East, Griffith's productions as a whole had not been too profitable 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.
123
BELOW
Orphans of the Storm was good, and
the production as the guillotine scene below illustrateswas 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-
The
cast of
tion shot
is
Griffith.
THE TWENTIES
124
of Nazimova's pictures ever made a gTeat deal

money. The public that means box office was not
vet trained to subtle acting and adult stories. Nevertheless, the general quality of her productions was
50 high that studios were glad to produce them as
None
of
1922 she gave a striking perA Doll's House, under

the direction of her husband, Charles Bryant. Tins
film was released by United Artists,
prestige pictures. In
formance
as
Nora
in Ibsen's
BLOOD AND SAND
(1922)
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.
125
The
Blood and Sand concerns a great Spanwho is killed in the arena because he
overestimates his skill. Lila Lee, below, played his
story of
ish bullfighter
The scene shown is the closing one,

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,
faithful wife.
in
believing her.
THE TWENTIES
126
Acting on the principle that there's nothing like

warming over a good title, Erich von Stroheim followed 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 nothing 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 Western 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.
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
Flynn. Though a success, he had yet to attain

great popularity.
J.
BELOW
John Gilbert played
his first roles
where so many
THE TWENTIES
128
i
p
i
?Z4
ft
i3
LI 1
*MMtIl***
ri
>*
^
mi
~
!
>
-
FK^
v
Ik
1
^
JsBt JM^^^ftflH
'
**
hBl
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 produced was The Glorious Adventure, filmed by the
Prizma process.
1
J.
it in EngLady Diana Manners
Stuart Blackton shot
land, as a starring vehicle for
(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 enthusiasm. Its chief importance lies in the fact that it
was the first of its kind and that it was one of Victor
McLaglen's
first films.
LORNA DOONE
The romantic costume
1922
129
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 colossal sets going up, but this was bigger, even, than
Intolerance. An enormous medieval castle gradually
took shape, grim with age, vine-covered, and complete with moat and drawbridge.
THE TWENTIES
130
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 Richard. 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
Some
1922
idea of the enormous proportions of the sets

this scene inside the castle,
may be gained from
131
where Robin Hood manages

archers of Prince John.
to
escape from the
THE TWENTIES
132
Maid Marian, Robin's lady fair, was played by Enid

became the wife of Fred Niblo, the
Bennett. She
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
becoming his own
monotonous counbrought him such
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 reproduction of the Mayflower will give an idea of the
In 1923 another picture star tried

producer. Charles Ray, sick of the
try-boy characterizations that had
success and money, left the Ince
elaborateness of the film.
SAFETY LAST (192 3)
1923 Charles Chaplin undertook the unprecedented step of writing, directing, and producing a
picture in which he himself did not appear. This
In
A Woman of Paris, a film whose satire and realism 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 smoothness 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.
was
133
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.
THE TWENTIES
134
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 adaptation of
Eugene
O'Neill's play
Blanche Sweet one of her best
Anna
Christie, giving
roles.
BELOW
Marion Davies started
in
the chorus,
was featured
and made her screen debut

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.
in the Ziegfeld Follies,
in 1917. In
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)
Paramount very well knew the box-office value

great name. Accordingly, in 1923
135
of a
featured the sixteen-year-old son of a famous screen star in Stephen

Steps Out. Meet Douglas Fairbanks, Jr. With him
is Harry Myers.
it
but his extravagance was too much for Univerand 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
tion,
sal,
Dorothy Wallace as the countess, suggests that it

might have been a forerunner, God forbid, of Lady
Merry Go Round started
as a
von Stroheim produc-
Chattcrley's Lover.
THE TWENTIES
136
By 1923
Cecil B. DeMille, fed up with directing

stories to fit the talents of individual
custom-made
decided he had had enough and proceeded

produce a super-spectacle. Using his own modifi-
stars,
to
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 accomplished 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 complained of its obvious and commonplace moralism,
of its frequent vulgarity, and of its general ostentatiousness, 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 massproduction sin, such as this, the worship of the
golden calf, thrilled the fans. DeMille had accomplished 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)
The second half of the picture, dealing with selfishness 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
clutching
is
done.
the
137
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
not resting on the spires.
is
THE TWENTIES
138
have complained of DeMille's tampering with

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 example, from The Ten Commandments, is scarcely a
strawberry festival. However, the producer has already pointed out how revolting it all is, so why carp?
Critics
history
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)
George
long recognized as one of the theater's

brought his latest stage success, The
'Green Goddess, to the screen in 1923. As the wicked,
finest
Arliss,
actors,
139
Oxford-educated raja he was superb, with lovely

Alice Joyce playing opposite him.
THE TWENTIES
140
BELOW
In 1923 DeMille also directed Adam's Rib, a solemn
on flappers past and present, for Paramount.

Anna Q. Nilsson (left) and Pauline Garon were in
treatise
the cast.
Here are
Dexter, Wallace
Reid, Theodore
Swanson, and DeMille (seated at
table) supposedly discussing Adam's Rib.
Kosloff,
Elliott
Gloria
SALOME
1923
Under Charles Bryant's
141
direction,
Nazimova appeared
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
in
work of Natacha Rambova (Mrs. Valentino). With

all its merits, it proved a critics' picture. Widely discussed, it was not widely attended.
THE TWENTIES
142
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
*H
w*
tir? J
%&
fe*l
;**-
ft
>
-?:'
:-"'
brothers, David and Ernest, were born

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.
The Torrence
in
Many
name
of
mother must have muttered curses at the

Hal Roach, whose Our Gang comedies used
to turn the younger generation into slapstick comedians after the Saturday matinee. Here is the original 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 Daniels, and Jackie Condon. The man behind them is
not Will Rogers, but Robert McGowan, their alltime director.
THE TWENTIES
144
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.
bought the story, and Jesse L. Lasky, after other

directors had turned down the job, assigned James
Cruze to film it.
BELOW
pitched a
ABOVE RIGHT
1923 a serial story, The Covered Wagon, appeared in The Saturday Evening Post. Paramount
In
company
to Snake Valley, Nevada,

hundred tents, recruited his
extras from the inhabitants of near-by counties, and
spent eight weeks shooting the location sequences
Cruze took
here.
his
camp
of five
THE COVERED WAGON (1923)
The
with
picture's success
is
historic.
Everyone connected
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 performance. 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.
it
145
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-
The motion
picture is so much more a realistic

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
ful.
medium than
BELOW
No
sooner was Robin Hood safely launched than

Fairbanks started construction of another, equally
Thief kept his feet
off
the ground.
146
THE TWENTIES
There was a flying magic carpet, and tall vases produced 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
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
for Fairbanks.
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.
gave Fairbanks ample opportunity to exercise the

particular brand of athletic charm that no other
It
THE THIEF OF BAGDAD (1924)
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 Fairbanks discovery, having first attracted his attention
as a dancer in the prologue to Robin Hood.
147
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 married Norma Talmadge and Buster married her sister
Natalie. He is shown here in one of his most successful pictures, The Navigator, made in 1924.
BELOW
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
William
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 vaudeville, traveling in their act. On the screen he was long
Haver.
S.
THE TWENTIES
148
Hoot Gibson, another idol of the Saturday-afterschool 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-
in Germany, where Ernst

Lubitsch made her a star. Her performance in Passion, 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.
ist.
She went into pictures
MONSIEUR BEAUCAIRE
Paramount had another female
(1924
star in Estelle
Taylor
Dempsey Her scene above,

with Thomas Meighan, is from The Alaskan.
(
she later married Jack
ABOVE RIGHT
Here's Miss Taylor again, in Tiger Love.
man
is
Antonio Moreno.
The lucky
149
BELOW
Valentino chose for his 1924 vehicle Booth Tarkington'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.
THE TWENTIES
150
Bebe Daniels, shown here with him, played the

young noblewoman whose love cannot weather the
apparent discovery that he
guise.
is
only a barber in dis-
The ballroom scene at Bath, from Monsieur Beaucaire. It would be interesting to know how they
managed that indirect lighting over the doors in the
eighteenth century.
AMERICA
To
millions of
1924)
women, Valentino was
151
the personifi-
cation of romance. His studio mail was enormous,

and from women in all strata of society. The young
men
postwar Germany, but even six years after the

armistice the public wasn't ready to view German
troubles with a sympathetic eye.
life in
sneered, but imitated his haircut and his manall, fifty million women couldn't be
ABOVE RIGHT
nerisms. After
entirely
wrong.
BELOW
made two
One was Isn't

which Neil Hamilton and Carol
Dempster appeared. It was a sensitive story of
Griffith
Life Wonderful, in
other picture was America, with a story set

in Revolutionary times. Lionel Barrymore played the
role of the notorious Walter Butler, the British captain who instigated the Indian massacres in upper
New York.
Griffith's
pictures in 1924.
THE TWENTIES
152
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
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-
particular genius for dramatic landscape scenes.
ington,
Jr.
HE
WHO GETS SLAPPED
Norma Shearer and John
Gilbert
pair in the film version of
(1924)
made
He Who
a glamorous
Gets Slapped,
produced by the young firm of Metro-Goldwyn.

Victor Seastrom directed, and Lon Chaney played
the
title
role.
153
DeMille directed an elaborately cast flicker entitled

Triumph, which employed the familiar DeMille device of putting older cut-backs into a
Rod La Rocque and Leatrice

turn as Romeo and Juliet.
modern
story.
Joy, for instance, did a
THE TWENTIES
154
Constance was the comedienne of the three Tal-
madge
and was generally at her best in situations involving suitor or husband trouble. She had it
in The Goldfish, in which you see her with Zasu
sisters
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, dealing 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
Milton
1924
took his A.B. at the University of Chistage, 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.
cago,
Sills
went on the
155
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, colorful
production with lavish
want
their
verted to
Mary
to
little-girl
sets,
but the public didn't
grow up. After Dorotluj she reroles, and everybody was happy.
THE TWENTIES
156
was the boy who never grew up. He

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.
Then
came
there
to the screen in
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)
was well under way, and pictures were

flappers, lounge lizards, and neglectful
parents. Universal's current contribution was The
Mad Whirl, with Jack Mulhall and May McAvoy
The
jazz era
rampant with
helping with the whirling.
ABOVE RIGHT
This
is
a scene from a Metro production of 1924,
157
Thy Name
Is
Woman,
with
Ramon Novarro and
Barbara La Marr.
BELOW
May McAvoy was
so
good an
actress that she
man-
being typed. From playing flappers

she passed to the touching female lead in The Enchanted Cottage, which First National produced
with Richard Barthelmess in 1924.
aged
to escape
THE TWENTIES
158
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-
Hollywood career with a water-front

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.
tor,
began
his
story that he
BEAU BRUMMEL
(1924)
from The Dressmaker from Paris is notable

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.
This
still
in that
it
BELOW
By
the middle twenties, Justice,
The Living Corpse,
159
The
Hamlet, and other plays had

John Barrymore not only as
one of the great actors of his day, but also as one
of the great box-office attractions. Hollywood naturally grabbed him. Here he is (staring at his nails)
in Beau Brummel, made by Warner Brothers in
Jest,
Richard
III,
definitely established
1924.
THE TWENTIES
160
The year 1925 saw the emergence of a number of

stars. Two of them were Norma Shearer and William 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).
picture was mostly Chaney, of course, but the

two youngsters managed to show their abilities, too.
The
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)
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 makeup or the scene where the huge opera-house chandelier came crashing down on the heads of the audience.
The Phantom was filmed
in
1925 by Universal.
It
161
has recently been remade by the same studio.
BELOW
The
was taken care

by Norman Kerry and Mary Philbin, seen here.
Miss Philbin was one of von Stroheim's discoveries.
of
love department of the picture
THE TWENTIES
162
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 conservative Mr.
is
Gable replied:
in 1925, starting in to
right, just
"It's a living."
behind the bush,
is
the principals in Strongheart.
ner coat, second from
Here he
make
left, is
that living. At the

Stuart Holmes, one of
The
extra in the din-
Gable.
BELOW
and Mary, made
in 1925, brought three

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.
Sally, Irene,
girls into
the limelight.
On
THE UNHOLY THREE (1925)
study of our hero
when he was
just
163
ABOVE RIGHT
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.
Chaney's
makeup
BELOW
another dress
extra.
in
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.
Mr' '-,,,-..' 'ITT
OJl
life
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THE TWENTIES
164
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
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
film version of
group of explorers discovering a lost world of saurians.

It used rubber models and double exposures effectively.
THE VANISHING AMERICAN (1925)
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 serving 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
165
of the longest
In
and most
in the history of
consistently successful careers
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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THE TWENTIES
166
Charles Rav's disastrous Miles Standish had sent him

back to homespun parts.
see him here ( at the
in a scene from Percy, directed by R. William
left
Neill and supervised by Thomas Ince for Pathe in
1925. Notice the two-piece orchestra in the foreground. No self-respecting screen star could get into
the proper mood without music, in those days.
We
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 performances. 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
Gloria
(192 5)
Swanson had gone
to Paris to
167
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 Paramount 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
back seat of the car
is standing, while in the

the chronicler of Hollywood,
man with the hat brim pulled
the Marquis.
is
Louella Parsons. The

down over his eyes is
BELOW
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
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.
THE TWENTIES
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 between the story of the film and Chaplin's own ragsto-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)
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,
169
and became a featured member of the Ziegfeld Follies. 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.
THE TWENTIES
170
When a tantasy is produced on tue stage, the mechanical 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; almost anything the producer can imagine can be transformed into reality. As a result, picture audiences
usually take everything literally and are usually dissatisfied. 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
^^^5?
\
*
trial
scene shown here, Edplayer,
is
the one
BELOW
Madame
X, used to be sure-fire
any actress capable of playing a good, rousing,
self-sacricing mother role. Belle Bennett played it to
Stella Dallas, like
for
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.
:'
^-~-
'
JSfcj
of
tne original play. In the
ward Everett Horton, the featured

in the dressing gown.
THE BIG PARADE (1925)
Much
171
American pictures is
the shrewd direction of Ernst
Lubitsch, who made the most of her exotic, Continental personality. In 1925 she appeared in
of the World, seen here.
of Pola Negri's success in
undoubtedly due
to
AWoman
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 posifice.
tion as the screen's great lover. In the
here,
Roy d'Arcy
is
BELOW
Franz Lehar's operetta, The Merry Widow, first
came to the screen in 1925 through Erich von Stro-
He directed a screen version of The

that brought standees to the box of-
heim's agencies.
Merry
Widow
the one on the
group shown
left.
ABOVE RIGHT
Then,
in that
same
year, Gilbert temporarily aban-
doned the glamour-boy roles and gave the performance for which he is still remembered, as Jim Apperson in The Big Parade.
THE TWENTIES
172
took seven years for the public to cool off suffiwar picture that was not wholly
complimentary to the war. Then, thanks to an adult
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,
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-
in
It
ciently to stand a
sande, next to her
Dane
as Slim.
is
Gilbert and, next to him, Karl
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.
were
The English
soldiers,
public, however, realized that these
regardless
of
what army they ap-
As a result. The Big Parade ran longer

London than most American pictures ever did.
peared
in.
in
BEAU GESTE
1926)
The
increasing percentage of above-the-average productions 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,
173
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 customarily played,
Norma Talmadge emerged
as a
come-
an adaptation of Belasco's play about

a street waif and a dramatic producer. Ronald Colman played opposite her.
dienne
in Kiki,
THE TWENTIES
174
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
1926 was
Hollywood that
of the auspicious screen debuts of
that of
Eddie Cantor.
He went
to
year to make the film version of his successful stage

musical, Kid Boots. The girl with him is Clara Bow.
IRENE
1926
Harry Langdon was of the dead-pan, scarecrow school

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 directed in 1926 by Frank Capra. Langdon was a
grand zany, but for some reason could not sustain a
feature-length comedy.
of
175
BELOW
There was a time when Colleen Moore was one of
the highest paid stars in pictures, and she is still remembered, 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.
THE TWENTIES
176
Yes, it's Gary Cooper, and this is how he looked in

the first picture in which he played a leading role,
made an immediate
The Winning
he wasn't a star yet, he had to give up the
of
Barbara Worth, Henry King
di-
rected the film for Samuel

hit
Goldwyn
in 1926.
Cooper
with the female fans, but as

gal.
MISS
"I'll
that
boy
NOBODY
1926)
to do some fast climbing to get away from

brakeman" was the caption for this shot. The
have
is
tion of
Anna Q.
Nilsson in First National's produc-
Miss Nobody.
177
Alma Rubens
first attracted attention in The HalfBreed, with Douglas Fairbanks. Then she appeared
to advantage in Humoresque. This is a scene from
Marriage License, directed by Frank Borzage.
THE TWENTIES
178
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
same
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 featuring Agnes Ayres, the female lead of the old Sheik.
A few weeks after the picture was released, Valentino died, following an emergency operation. His
funeral services in New York caused a riot; CampIn that
year, too, Valentino
bell's
funeral parlor,
wrecked by
women
to
gathered
way
at
watch the funeral
Today,
where
body lay, was nearly

Thousands of weeping
his
hysterical fans.
train
stations across the country
on
its
way
to
Los Angeles.
BELOW LEFT
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.
in
BELOW RIGHT
Another Latin
Novarro,
whom
and whose
star
was the one-time extra, Ramon

you saw in The Prisoner of Zcnda,
reached its zenith in M-G-M's pro-
star
duction of Ben Hur. He

role, being seized by the
is
shown
Roman
here, in the title
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 director; and George Walsh was to play the leading
role. The three were sent to Italy to start production. 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
Carey Wilson and Bess Meredyth, scenarists

and supervisors; Fred Niblo, director; and Ramon
sent over
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.
THE TWENTIES
180
Valentino was not the only Latin-type lover to become a favorite, although he led the field. One of
the more fascinating villains of the period was Ricardo 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 became the "it" girl.
THE SEA BEAST
1926)
Dolores Costello was John Barrymore's leading ladv

Their scene here is from
in several of his pictures.
181
The Sea
Beast, filmed
were married
in 1928.
r>v
Warner
Brothers.
Thev
THE TWENTIES
182
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
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, Charmaine, as played by Dolores Del Rio. The film was
directed by Raoul Walsh and produced by Fox.
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?
ABOVE RIGHT
Bow, was a beauty-contest
made good in pictures. After play-
Claire Windsor, like Clara
winner who really
BELOW
ing extra parts, she started under Lois Weber's direction and eventually became a leading lady. Con-
there was. Veteran playgoers insist that no one

could ever equal the unforgettable performances of
rad Nagel and Miss Windsor were teamed in Dance

Madness, a scene from which is above.
And
THE BLACK PIRATE (1926)
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-
but it was away ahead of

its predecessors. Aside from the color, it was a typical 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.
nicolor. It
was not
perfect,
183
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.
THE TWENTIES
184
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 photography was an artistic success.
girl
quality of
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
she played everything from home girls to

dance-hall vamps. She had something of the littleschool,
Piekford, yet could play the dope-
Human Wreckage.
She had somecharm of Lillian Gish, yet

The Broadway Melody. In 1926
her most famous roles, shown
thing, too, of the wistful
could be a hoofer in
she created one of
here,
ABOVE RICHT
Mary
crazed mother of
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 little grisette. John Gilbert was an equally happy choice
as the poet, Rodolphe, in La Boheme.
HOTEL IMPERIAL
(1926)
come to Hollywood as
he had made in Sweden
1923, called The Story of Gosta Berling. In the
Mauritz
Stiller
was
invited to
a director because of a film

in
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,
185
a scene from the Swedish film. Stiller was also instrumental in bringing Hanson to America, where he
played leading roles, as in The Scarlet Letter.
picture
She got the contract, but the studios paid no attention to her for a while. She was Greta Garbo. In the
photograph above, she appears with Lars Hanson in
BELOW
Stiller
never quite succeeded in hitting the pace of
the Hollywood mills.

this
One
of his
most nearly success-
was Hotel Imperial, made in 1926. In

scene we see Pola Negri and Max Davidson.
ful pictures
THE TWENTIES
186
In 1926 Lillian Gish, directed by Victor Seastrom,

The Scarlet Letter for Metro-GoldwynMayer. In this picture of the company on location,
Seastrom is seated on the ground beside Miss Gish.
starred in
To
the right, in the black Puritan costume, is her

leading man, Lars Hanson. Notice the violin-melodeon-cello ensemble at the left. Even in the open
spaces of the Hollywood

atmosphere.
hills,
music had
to provide
BELOW
climactic pillory scene of The Scarlet Letter, in
which Lars Hanson, as the Reverend Dimmesdale,
denounces himself as the father of Hester Prynne's
The
child.
IT
1927)
187
according to a motion-picture trade journal, was

"wholly lacking in literary excellences, while imIt,
plausible."
What
it
didn't
meaning Clara Bow, the
lack
girl
was
sex
appeal,
from Brooklyn who
The story was written for Paramount by Elinor Glyn, who discovered the possibilities of "it," and the film was released in 1927.
typified the twenties.
THE TWENTIES
188
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 Southernno newcomer, for she had mad'? her -creen debut in Intolerance.
marked, in passing, that

picture, Miss Pickford
BELOW LEFT
My Best Girl, based on Kathleen Morris' version of King Cophetua and the beggar maid in this case, the girl who worked in the
the accompanying photograph will reveal. The lighted

fuse on the mortar should not be overlooked.
offered
love with the manager's son.

took the story too seriously, so
Miss Pickford had a chance to employ her by no
means inconsiderable comic gifts. In this scene, Lucien Littlefield, on the left, is her father, and Charles
"Buddy" Rogers her new husband. It might be refive-and-ten and
fell in
Nobody concerned
&4H1
This same
of Wings-,
W^
(a
Hlfc/
4.
^^
^^*
r^fc^'
M
'
1
\^^^
BELOW BIGHT
Buddy Rogers also appeared
which was
to the air force
as the hero
approximately
what The Big Parade had been to the infantry. He

is shown here, taking refuge in a shell hole after escaping from his cracked-up plane.
ill
ten years after this
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
ABOVE RIGHT
Mary Pickford
just
became Mrs. Buddy Rogers.
WINGS
The
story of
our
air force
1927
189
BELOW
Wings concerned
the part played by

during the battle of the Saint-Mihiel
salient. William A. Wellman, who directed the picture, was highly praised for his handling of the story
and particularly for his masterly treatment of the flying sequences. This was hardly surprising, as Wellman had been an aviator during the war. The cast
of Wings also included Clara Bow, Gary Cooper,
and Richard Aden.
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, culminating in Going Up, which he backed himself. The pic-
him near the front rank of the screen's

comedians. In 1927 he entertained with Soft Cushions, ably abetted by Sue Carol. MacLean, by the
way, is now a Hollywood producer.
ture placed
THE TWENTIES
190
Nor were the other comedians
idle.
for instance, followed his success in
Eddie Cantor,
Kid Boots with
a not too severely realistic picture of the

postman, Special Delivery.
life
of a
THE STUDENT PRINCE (1927)
Ever since Richard Mansfield produced Old Heidel-
191
and Ramon Novarro, with Ernst Lubitsch
as director.
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
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.
THE TWENTIES
192
to ask, "Who was the most beautiful

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 composed scene is from Night of Love, produced by
Samuel Goldwyn, directed by George Fitzmauricc,
and costarring Miss Banky and Ronald Colman.
If
one were
woman
BELOW
In the summer of 1927 Miss Banky married Rod La
Rocque. At the time, she was Goldwyn's favorite
and to celebrate the occasion he gave her a

wedding that is still a Hollywood legend. Practically
every screen luminary in Hollywood attended, tostar,
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, Samuel Goldwyn, Miss Banky, Rod La Rocque, Cecil B.
DeMille, Victor Varconi, George Fitzmaurice, and
Jack Holt.
UNDERWORLD
1927
193
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 costarred. They are shown here in a scene from Afraid
BELOW LEFT
Give Brook had been on
to
Love,
made
in 1927.
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 reputation as a director.
ABOVE RIGHT
Brook appeared with Evelyn Brent in Underworld, a
crook melodrama that Ben Hecht wrote for Paramount in 1927. Miss Brent, seen here, began as an
extra in 1914, then went to England and became a
star.
A good
actress, she
talking pictures.
had her greatest success
in
BELOW RIGHT
"The world's
greatest actor as the greatest lover of

the way the press department diffidently
ages" is
described it. In other words, John pardon Mr. (as
the studio always billed him) John Barrymore made
Don Juan in 1926.
all
THE TWENTIES
194
fine
motion picture was King Vidor's The Crowd,
distributed by
of this simple,
M-G-M
in
1928.
The two
protagonists
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 prisoner. In this scene we see Pola Negri as the French
girl, Einar Hanson as her brother, and Claude Gillingwater as her father. The picture had tragic repercussions. Shortly before the picture was released,
Hanson was killed in an automobile accident; and
Stiller died a vear later.
FLESH AND THE DEVIL (1927)
now one
195
most sought-
most overnight she took her place as one of the most
opposite him
was practically star insurance for any girl. In Twelve
Miles Out, he was teamed with young Joan Crawford. You'd hardly know our Joan, would you?
potent personalities in the history of pictures a position that she still retains, by the way. Next she
played with Antonio Moreno and Lionel Barrymore
in The Temptress ( 1926). She found her ideal leading 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.
John Gilbert was by

after leading
men
in pictures.
of the
To play
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-
THE TWENTIES
196
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 adaptation 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

in several subsequent films.
were together
LOVE
1927)
That same year, Garbo and Gilbert appeared
197
in
Sudermann's
Trip to
Tilsit. F.
W.
Murnau's excel-
a screen version of Tolstov's Anna Karenina, coyly

disguised under the title Love.
Gaynor and George

O'Brien, and the beautiful lighting and photography
resulted in an impressive film. This scene shows
Another notable picture in which Janet Gaynor appeared in 1927 was Sunrise, adapted from Hermann
O'Brien, as the husband, setting out on the boat ride

during which he intends to drown his wife.
lent direction, the acting of Miss
THE TWENTIES
198
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 productions 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 subject with taste and reverence.
THE WAY OF ALL FLESH (1927)
To H.
B.
Warner must go much
cess of the picture. His

Christ, far
credit for the suc-
performance
in the role of
from giving offense, was a triumph
sensitiveness
of
and beauty.
not generally
BELOW
known that Emil
Jannings, heralded 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
It is
199
still a baby. He began his stage career in repertory

companies and eventually in Max Reinhardt's company. Going into films, he attained world-wide popularity by his performances in Du Barnj (Passion),
The Last Laugh, and Variety. Paramount brought
him back to this country and starred him in a number of pictures, the first of which was The Way of
All Flesh, a story of a bank cashier who was a devoted 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 producers did not fall for any such newfangled nonsense; besides, the cost of wiring all the theaters
for sound would be prohibitive. It remained for the
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 produced a silent film Don Juan (see page 193) with
And in May, 1927,

Fox launched the Movietone Newsreel, using sound.
a synchronized musical score.
comparatively obscure and financially worried Warner Brothers to take a chance on the new process,
201
COMES THE REVOLUTION"
202
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
Warners and
made a movie
dollars for the
set
over two million

them on their feet
financially. It
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)
One famous
203
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.
rest of the industry,
ABOVE RIGHT
The year 1928 was one of toil and tribulation for
the producers. The success of the new talking picture had made it ominously clear that the days of
ture
the silent film

built,
were numbered.
New
stages must be
and new apparatus installed and what about

Could they read lines? Would they
the silent stars?
hold their public? Warner Brothers worried least.

With their Vitaphone they had a head start on the
and they had at least one star

genuine stage actress, and a good onePauline Frederick. Here she is, in a scene with
Richard Tucker, from On Trial, an all-talking pic-
who was
produced by Warners
in 1928.
BELOW
Many
pending the frantic efforts

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.
of the other stars,
of their studios to
204
Emil Jannings gave what some consider

performance, in The Last
his finest
Command.
This was a
Paramount silent, directed by Josef von Sternberg,
in which Jannings played an exiled Russian officer
who becomes
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
of
was Florence Vidor, shown

here. Lewis Stone was Count Pahlen. When his
contract ended, Jannings returned to Germany.
Russia. His leading lady
BELOW LEFT
With The Wedding March,
Stroheim accomplished the
difficult feat of
1928
silent,
Erich von
breaking
his
own
record for extravagance.
and stopped
He
started shooting
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 management finally assigned several other cutters to the
job. They managed to cut it to size, but the finished
in June, 1926,
in late spring, 1927,
was uneven and disjointed. Even so, much of

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
film
the film
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 Compson and George Bancroft.
THE STREET ANGEL (1928)
Another
star to
great transition
role of Letty in
remain
silent
during the year of the
was Lillian Gish. Here she is in the

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
205
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 distinguished by some exceptionally fine camera work
by Ernest Palmer.
206
Norma Talmadge's
mack-
for
United
silent for the

Artists.
year was Tlie Dove,

is, with Noah
Here she
Beery (right), who turned in a

in a scene from the film.
fine characterization,
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
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
For United
Artists,
Joan Crawford got her chance in a flaming-youth

opera entitled Our Dancing Daughters. It established her in a type of role that soon became associated with her name and made her a star.
LILAC TIME
1928)
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.
207
Lilac
Time began as a silent starring vehicle for

Then sound came in, and the pic-
Colleen Moore.
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.
ture
208
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 discoveries,
Merna Kennedy.
ABIES IRISH ROSE (1928)
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.
209
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
days.
Sally O'Neill.
Everybody wore spats
in those
210
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"
shown
in
this
Jr.,
of 1928. Its featured players,
were (left to right): George

Margaret Mann, Francis X.
and Charles Morton.
Meeker, James
Bushman,
lists
scene,
Hall,
BELOW
Beggars of Life, a screen version of Jim Tully's grim
produced by Paramount in 1928, differed

from the average "sync" picture in that it had several sequences of actual dialogue. In this scene, we
have Louise Brooks, Richard Arlen, and Wallace
Beery. William Wellman directed the film.
novel,
THE SINGING FOOL (1928)
The Jazz Singer, Al Jolson natumade another singing, talking picture The
Singing Fool. The critics agreed that it contained
nothing new and was a mere repetition of the ef-
After his success in

rally
211
The Jazz Singer. True enough, except for

the detail that it grossed a million dollars more than
its predecessor.
fects in
5.
The Talking Picture
By 1929 Hollywood had begun
ford, for example, chose wisely in selecting the title
first
role
of
her
first
to recover from its

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-
Helen Hayes' stage success, Coquette, as

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
THE TALKING PICTURE
214
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 sucfirst venture into the talkies. 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."
cessful stage play for her
THE TRESPASSER (1929)
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
215
directed this story of a
man
with a dual personality.
BELOW
Swanson took no chances, but wisely chose
Laura Hope Crews to coach her for her first talking picture, The Trespasser, produced in 1929.
Thanks to Miss Crews' coaching and Edmund
Gloria
Goulding's direction not to mention Miss Swanson's

talents she made the transition with pronounced success. Purnell Pratt appears with her in
own
this scene.
THE TALKING PICTURE
216
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 version of Madame X. Lionel Barrymore temporarily
forsook acting to direct it. Raymond Hackett
the extreme right in this scene.
is
at
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)
What
Price Glory? started an epidemic of soldiermany of them revolving about a feud be-
pictures,
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
talkie
of
1929,
The Cockeyed
World. The bone if one may be so ungallant of

contention this time was Lily Damita.
217
BELOW
MacDonald was teamed with a French
musical-comedy star who had caught the movie
public's fancy with his first picture, The Innocents of
Jeanette
Pan's Maurice Chevalier. Their combined talents,

plus Ernst Lubitsch's sly direction, made The Love
Parade an instant success.
THE TALKING PICTURE
218
BELOW
Another musical was Rio Rita, which Luther Reed
RKO
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 YVooldirected lor
sev were also in
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.
Broadway, an adaptation of the famous prohibitionnight-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
based on the Somerset Maugham story,

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.
The
letter,
was
first
219
(1929)
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.
THE TALKING PICTURE
220
Another M-G-M contribution to 1929 was The Broadway Melody. This was a story of backstage life, with
plenty of singing, dancing, and chorus work introduced plausibly enough to delight a large public.
Three of its leading actors achieved individual triumphs. Right to left, they are: Anita Page, just beginning her career; Charles King, musical-comedy
lead;
and Bessie Love, who emerged
brilliantly after
a temporary eclipse.
BELOW
produced a screen version of Longfellow's Evangeline that was part talkie and had a
United
Artists
synchronized musical score underlining the story with

great effectiveness. Furthermore, it had a beautiful
setting, excellent photography, and Dolores Del Rio.
STEAMBOAT WILLIE
221
(1929)
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 importance
lies in
it was the forerunner

was an animated interpretation
the fact that
of his Fantasia, for
it
of a standard orchestral
Saens'
Danse macabre.
workin
this case, Saint-
THE TALKING PICTURE
222
Of all the important stars, Garbo alone persisted in

appearing in a silent film. Though praetieing English, 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 popular 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 makingto 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-picture 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,
William Blakewell, and Ben Alexander
saw
in so
many
pictures as a youngster).
Wolheim,
(whom we
ALL QUIET ON THE WESTERN FRONT (1930
223
~*L-
fflSM 1
4*'
-.
LV v
-^ V
-^-*~-
v_
w^KBmL A
A yF; ~W *
:
'"
v.
No one who saw
it
Ji
the picture's effectiveness.
'":
-~
19bG
$ ^
<
xjr.
t
1
BELOW
will ever forget the heartbreak-
which Paul, coming upon a French soldier in a shell hole, stabs him in panic, only to realize
that both of them are merely bewildered and frightened 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 performances 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
ing scene in
/.'
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
skill.
to
become
a serious actress of force
and
THE TALKING PICTURE
224
Marie Dressier was by no means confined to serious

M-G-M cast her in a series of slapstick sentimental comedies, costarring Wallace Beery, that
proved as effective box office as the offerings of other
and
more glamorous teams. One of the best was
Rill, from which the above scene is taken. George
Hill directed. The girl is Dorothy Jordan.
roles.
Mm
BELOW
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.
Hill
JOURNEY'S END
1930
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.
225
The success of All Quiet

buy and produce R. C.
inspired Tiffany Pictures to

Sherriff's equally fine Jou,-
End. Colin Clive, the original Captain Stanhope, 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 Manners ( extreme left )
nei/s
THE TALKING PICTURE
226
Two other promising youngsters attracted considerable attention in 1930. They were Fredric March
and Claudette Colbert, both of whom had been in
pictures for about a year. Paramount remade Manslaughter, a former Thomas Meighan silent, and featured 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 thirties. It was this picture, too, that started Edward G.
Robinson on his long career of tough-guy impersonations. 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
to make the sucThe 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 producers shook their heads over Miss Moore. She was
went from the Metropolitan
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
bett
recently returned. She is shown Jhere, with James

Rennie, in The Girl of the Golden West.
not, they said, photogenic.
cessful film,
More
of that, later.
BELOW
ABOVE BIGHT
The wave
of musicals that
had engulfed 1929 sub-
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 Tibsided
Marlene Dietrich's
made
first
American
picture, Morocco,
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.
THE TALKING PICTURE
228
The life of Abraham Lincoln has been the basis of

many pictures. One of the best was Abraham Linby D. W. Griffith in 1930 for United
Walter Huston played the title role, with
Una Merkel as Ann Rutledge.
coln, directed
Artists.
BELOW
In Son of the Gods, Richard Barthelmess
went back
atmosphere of Broken Blossoms. This

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.
to the Oriental
Warner Brothers production had elaborate
229
'LILIOM (1930)
Another Barthelmess picture of 1930 was the successful The Dawn Patrol, an aviation picture directed 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 imagination. Fox's production of Liliom, with Charles Farrell and Rose Hobart, was painstaking and elaborate,
but it failed to capture the imaginative persuasiveness of the Theater Guild's original production.
THE TALKING PICTURE
230
Warners starred John Barrymore
in a version of Melgreat novel, Moby Dick, notable for Barrymore's extraordinary make-up and distinguished act\
ille's
ing.
Barrymore had played
the film then being called
this role in the silents,
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
Hughes had
to make this
of
time were
to face.
He was
other handicaps that

determined, however,
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

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
Hell's Angels, but either
good
With her
herself as a
actress
appeal.
in this
and the embodiment

scene is Ben Lyon.
of sex
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.
THE TALKING PICTURE
232
Another scene from Song
o'
My
Heart, showing
Me-
lovely Alice Joyce, who played opposite him. This was the only picture he ever made.
Cormack and
His
own
This he did,
in a talking
after his screen debut.
picture of 1930, ten years
The
girl
with him, above,
is
Mitzi Green.
explanation tor the shortness of his screen

"They said I had no sex appeal."
BELOW
career was,
Elmer
ABOVE BIGHT
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.
It
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.
FREE SOUL
1931
M-G-M remade Eugene

Easiest
233
Walter's
old
play,
Way, with Constance Bennett playing
The
the
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 husband (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).
role that Frances Starr
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 established him as a definite box-office draw.
THE TALKING PICTURE
234
Another of Norma Shearer's pictures was Noel Coward's brilliant, slightly bawdy, and roughhouse Private 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 'prevented him from performing the characteristic Fairbanks gymnastics and turning the decks of a" transatlantic liner into a one-man track meet. He is shown
here in a moment of comparative repose. Jack Mulhall is on the left.
FRANKENSTEIN
Lon Chaney's death
in
(1931)
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
235
bloodcurdling performance as the monster in Frankenstein (1931). It was such a success that Universal
followed it with The Bride of Frankenstein (1935)
and The Son of Frankenstein (1939).
THE TALKING PICTURE
236
Someone once remarked that the present younger

is going to grow up with the firm con-
generation
the great men of history looked like

1931 the distinguished actor continued his gallery of historical portraits with Alexander Hamilton, with Doris Kenvon as his leading
viction that
George
lady.
all
Arliss. In
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
Garbo,
still
now slight
1931
237
wisely sticking to roles in which her by

accent was no handicap, made Inspira-
adapted from Daudet's Saplw. Clarence Brown

and Lewis Stone and Robert Montgomery
played the other leads. Garbo appears here, with
Stone, wearing one of the exotic gowns Adrian detion,
when Warner Brothers persuaded Otis Skinner to

play his original stage role in a screen adaptation of
Kismet.
BELOW
directed,
signed for her.
Hecht and MacArthur's rowdy epic of the newspaper world, The Front Page, was a natural for the
screen. Howard Hughes produced it and Lewis Milestone did the directing. Pat O'Brien,
made
ABOVE RIGHT
Motion pictures won a distinguished actor
in 1930,
role of
his
first
appearance
Hildy Johnson, the
in pictures,
star reporter.
shown
here,
playing the
THE TALKING PICTURE
238
The authors made no
secret of the fact that Walter

Burns, the loud-talking managing editor of the picture, was a fairlv faithful portrait of one of their old
usual man-of-the-wprld role, played the part to per-
bosses in Chicago. Adolphe Menjou, dropping his
year's best.
The combination of good story, fine acting,

and superb direction made the picture one of the
fection.
CONNECTICUT YANKEE
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
under the title A Connecticut

Yankee. This is the famous scene in which the Yankee saves himself from the stake by predicting an
made
it
as a talkie,
239
(1931)
hundred years before

Frank Albertson.
eclipse that occurred several

lie
was born. With Rogers
is
BELOW
In 1931 Walt Disney made his first animated cartoon in technicolor. It was called Floivers and Trees,
and
it
won an Academy award.
THE TALKING PICTURE
240
After long persuasion, that great stage couple, Alfred Lunt and Lynn Fontanne, reluctantly consented
to make die film version of Molnar's The Guardsman. 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
tragicomic best.
M-G-M
Horn was Hollywood at its

sent an entire company and
crew
to Africa, in order to ensure the authenticity
of the location shots; then,
turned
when
the
company
re-
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 recovered. Miss Booth appears here with Duncan Renaldo
and Harry Carey, who played the title role.
to
PUBLIC ENEMY
1931
241
)
flood of gangster pictures continued. One of

the better ones was Public Enemy, in which James
The
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
Cagney demonstrated
Woods
get his.
that
Moana encouraged Paramount to reSouth Sea island picture, Tabu, which

was directed by F. W. Murnau from a story by himself and Robert Flaherty. It was one of the most
glamorous and beautiful pictures ever made.
The
success of
lease another
THE TALKING PICTURE
242
Jackie Cooper raised himself to stardom by his engaging performance of a comic-strip character brought
to life Percy Crosby's Skippy.
an
Academy Award
Norman Taurog won
for his direction.
THE CHAMP (1931)
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.
243
BELOW
Blonde Ann Harding, here gazing wistfully from
behind a tree, played in that aged tear-jerker, East
Lynne.
THE TALKING PICTURE
244
we have Jean Hersholt, Jackie Darrow,

Marie Prevost, and Miss Hayes.
The Lunts were not tne only distinguished newcomers from the theater in 1931. Irving Thalberg,
one of the M-G-M bosses, finally induced Helen
In this scene
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, established 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.
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
BELOW
the film in 1931.
CITY LIGHTS (1931)
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, however. 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.
245
ABOVE BIGHT
most diverting moments in the picture
were supplied by Chaplin and Harry Myers, the latter playing a man about town who is Charlie's bosom
friend when drunk but refuses to recognize him in
his sober moments.
Some
of the
BELOW
Under Wesley Ruggles' direction, RKO made a spectacular and genuinely impressive picture out of Edna
Ferber's novel of the Oklahoma land rush, Cimarron. This scene shows the homesteaders lined up for
the starting signal. In the foreground are Richard
Dix and Irene Dunne.
THE TALKING PICTURE
246
Cecil B. DeMille, feeling that it was about time for

of another spectacular picture,
of the Cross, a combination of
Fredric March, Elissa Landi, and, just behind her,

Nat Pendleton.
mob
A scene
Tommy
him to be delivered
produced The Sign
and movie stars that was

heralded as being "bigger than The Ten Commandments." The critics didn't care much for Nat Penscenes, religion, sex,
dleton's strolling through the picture, using American slang, but the public loved all of it, especially
the Christian-eating lions. In this scene we have
BELOW
from The Sign of the Cross in the making.
Conlon the boy ) has been dragged from
his dungeon to be tortured; Nat Pendleton is holding 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.
EKYLL
AND MR. HYDE
(1932)
Plays began to reach the screen in increasing numbers. Dolores Del Rio made The Bird of Paradise for
RKO, an
247
tures, Thunder Below, with Charles Bickford

and Paul Lukas.
BELOW
adaptation of the well-known play.
Clowns
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 successful. She is shown here in one of her 1932 pic-
(left)
traditionally
want
to play
Hamlet. Occasion-
man
forsakes glamour and takes

a fling at gooseflesh-raising. John Barrymore made a
silent Dr. Jekijll and Mr. Hijde, in 1920, that terrified his fans, and in '32, Fredric March starred in
the same story, giving a performance that estabally, too,
lished
a leading
him
as
a first-rate
Academy award. Compare

one on page 246.
actor
and won him an

him with the
this shot of
THE TALKING PICTURE
248
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
another play to reach the screen that year was

O'Neill's Strange Interlude. It was no easy
job to compress a play that took five hours to perform into a film lasting about two, but M-G-M's
Still
Eugene
director,
Robert Z. Leonard, managed
it.
He
**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.
even
the asides intelligible to the audience. Norma

Shearer played the lead, with Clark Gable, here kissing her hand, as the doctor.
BELOW
made
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
Rasputin and the Empress brought together the

three Barrymores, John, Ethel, and Lionel. Richard
THE TALKING PICTURE
Boleslavsky directed this famous

1932.
trio for
M-G-M
in
MORNING GLORY
Katharine Hepburn
(1932)
first attracted Hollywood's attenwhen, 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 herselfand made an immediate success in A Bill of
Divorcement. RKO promptly starred her in Christopher 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.
tion
251
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 sentence, went on to triumph in her first picture, playing 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
a different sort of musical cycle was featured in a

small part. She's fifth from the right Ginger Rogers.
the star who breaks an ankle and the unknown must

take her place, but the acting was good, the direction swift, and the production numbers were lush.
Lloyd Bacon directed for Warner Brothers. The man
with the handkerchief, in the scene above, is Warner Baxter. The girl second from left is Ruby Keeler,
who played the unknown. The girl who was to start
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 Warner Brothers picture was also notable for handling
a socially vital theme intelligently and movingly.
BELOW
ONE-WAY PASSAGE
Warner Brothers
also
best love stories in
(1932)
produced one of die screen's
1932 One-Way Passage. William
Powell and Kay Francis played the lovers, under
Tay
Garnett's sensitive direction.
253
M-G-M's adaptation of Vicki Baum's Grand Hotel,

enlisted the talents of a group of Hollywood's biggest stars. Shown here are Joan Crawford, as the
stenographer, Wallace Beery, as the industrial magand Lionel Barrymore, as the man who has
only a few months left to live.
nate,
BELOW
One
of the
most ambitious productions of the year,
THE TALKING PICTURE
254
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

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
as
scene above, George Meeker
is
with Miss Dunne.
SHANGHAI EXPRESS
(1932)
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 misrepresentation 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
255
was played by Johnny Weissmuller, formerly a swimming 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
the
first
Tarzan shows
become the mate of

simian-reared hero), Neil Hamilton, and Johnny
Maureen O'Sullivan (destined

Weissmuller.
to
THE TALKING PICTURE
256
About as handsome a trio as you'd care to meet were

Kay Francis, Herbert Marshall, and Miriam Hopkins,
appeared in the sophisticated comedy, Trouble in Paradise. Ernst Lubitsch directed it for Paramount in 1932.
as they
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 irreverently 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 major 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 MadeIon Claudet, while Fredric March received the corresponding 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.
FAREWELL TO ARMS
(1932)
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 picturization 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 Paramount in 1932.
257
BELOW
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,
Jesse L.
THE TALKING PICTURE
258
More than
dozen screen writers and more than
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 included Gary Cooper, George Raft, Charles Laughton, 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
half
a dozen
directors,
by Alison Skipworth,
is
of wrecking cars driven
realizing his lifetime
dream
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 gentlemen 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
Frank Capra
directors
is
1933
259
one of a handful of motion-picture
whose names on the marquee
mean something
odd-job
DAY
to the
man with
of a theater
moviegoer. He started as an
comedies, worked for
Christie
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 successful directors. One of his pictures filmed in 1932
was The Bitter Tea of General Yen, in which Barbara 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 America. The story was adapted by Robert Riskin from
an original Damon Runyon yarn.
THE TALKING PICTURE
260
M-G-M
filmed Dinner at Eight, from the play by
Edna Ferber and George
Kaufman. George Cukor

directed an all-star cast, including John and Lionel
Barrymore, Marie Dressier, who was miscast, Wallace Beery, Jean Harlow, Edmund Lowe, and Billie
Burke. Critics were agreed that Beery and Harlow
here shown turned in the best performances.
S.
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 masterpiece of miniature work and trick photography.
THE INVISIBLE MAN
(19 3 3)
261
Another Lasky production of 1933 was an adapta-
Crawford, with Clark Gable and Franchot Tone. Fred
The Warrior's Husband.
Astaire and Nelson Eddy played insignificant supporting parts. Miss Crawford is shown here as a
burlesque beautv.
tion of die stage success,
shown here with Marjorie Rambeau

played the role originally acted by Katharine
Hepburn.
Elissa Landi,
(left),
BELOW
ABOVE RIGHT
David O. Selznick produced Dancing Lady, a
of backstage
life,
for
M-G-M
story
in 1933, starring
Joan
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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THE TALKING PICTURE
262
who had returned to her native Sweden 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.
Greta Garbo,
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TUGBOAT ANNIE
The success
in Min and
inevitable. It
of Wallace Beery and Marie Dressier

made a follow-up to that picture
Bill
emerged
in
263
1933)
1933, as Tugboat Annie,
and received a warm welcome from the fans. This

was one of the last pictures Miss Dressier made. She
died in 1934.
THE TALKING PICTURE
264
Another Lasky production of 1933 was The Power

and the Glory, in which lie starred Colleen Moore
and Spencer Tracy.
him here in International House, which

Sutherland directed for Paramount in 1933.
see
Edward
BELOW
W.
C. Fields
ABOVE BIGHT
had become famous
as a
tramp juggler
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
and pantomimist
first
in vaudeville,
Mitchell Leisen began His picture career as a designer 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
her touching performance in
She
is
shown
here.
as a result of
Madchen
in
Uniform.
LITTLE
WOMEN
(1933)
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),
265
Katharine Hepburn (Jo), and Frances Dee (Meg).

Spring Byington, as dieir mother, is seated in the
center of the group.
THE TALKING PICTURE
266
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 McLeod directed. Despite all this array of talent, the
picture was disappointing. Everybody was masked
Plum Pudding, shown above, is a good exam( the
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.
Paramount brought Alice
Eugene
O'Neill's
ABOVE RIGHT
fine play, The Emperor
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
also
Artists in 1933. It starred Paul
Robeson.
BELOW
Mae West's
made her a
Night After Night, had

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,
first
picture,
star.
here being compromised, played one of the leads.

It was in this picture that Miss West delivered that
Jones, has
immortal
line:
"Come up and
see
me
sometime."
NANA
267
1933)
Mary Pickford produced

of pioneer days, for
with
Mary
is
Leslie
Secrets, a heart-throb story
United Artists in 1933. Seated
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 evidenced by the scene below with Lionel Atwill, but
her acting was hardly expert, and her all-too-Russian 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.
THE TALKING PICTURE
268
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
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
busy elsewhere, building a wolf-proof house.
statue of the star, in the nude,

picture, and reproductions of it
Speaking of love
interest,
Marlene Dietrich played
great
many
ture
was not
theaters
was featured in the

were displayed in a
showing the
successful.
film. Still, the pic-
VOLTAIRE
1933
269
Si
iMflHÊi
George
Arliss
added another
celebrity to his
list
of
with a picture entitled Voltaire.

this scene are Margaret Lindsay and
characterizations
With him in
Doris Kenyon.
BlHttMHll W$'$7^
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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?
THE TALKING PICTURE
270
RKO's production
Human
but
it
made
of
W.
Somerset Maugham's Of
1934, starred Leslie Howard,

a star out of Bette Davis. As the schem-
Bondage,
in
ing waitress, Miss Davis gave a memorable performance 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 romantic roles to play in a Western melodrama about Indians and the wrongs done them by unscrupulous
government agents, Massacre. He is shown here in
the trial scene, with Dudley Digges as the prosecutor. The girl is Ann Dvorak.
BELOW
came the immortal It Happened One Niglit,
directed by Frank Capra for Columbia. Its two roIn 1934
mantic stars, Claudette Colbert and Clark Gable,

turned in comic performances that won them Academy awards for the best performances by actress
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
and
scene.
272
Clarence Brown directed Chained for M-G-M in

1934. It featured a popular trio Otto Kruger, Joan
Crawford, and Clark Gable.
THE TALKING PICTURE
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-
exceeded the wildest speculations of its sponsors. 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. Moreoxer, 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
ever,
Maureen O'SuIlivan, with the cynical Miss

ing no detail of the tender episode.
Loy
los-
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 succession of Oriental seductresses, revealed herself as an
irresistibly adroit
comedienne. William Powell,
had been known
chiefly as a heavy,
emerged
who
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.
THE TALKING PICTURE
274
Swanson temporarily gave up the drama to

in a Fox edition of the musical-comedy success, Music in the Air. In this scene are June Vlasek
(later, and more pronounceably, June Lang), Douglass Montgomery, Al Shean, and Miss Swanson.
MacDonald and Maurice Chevathey appeared in Ernst Lubitsch's produc-
Gloria
tion are Jeanette
appear
lier
tion
1934.
office
BELOW
The couple eving each
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The picture was so expensive that only a boxmiracle could have made it profitable. The
of
miracle did not occur.
other in apparent consterna-
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THE ORPHANS' BENEFIT
(19 3 4)
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 appears here with Dunn. Her next picture, Little Miss
Marker, released the same year, definitely established
her as a box-office draw.
The
VBOVE RIGHT
1934 was Fannie Hurst's
starring Claudette Colbert and
greatest tear-jerker of
Imitation of
Life,
275
featuring Louise Beavers. John

Universal.
M.
Stahl directed for
BELOW
The year 1934 was memorable for the unheralded
debut of one who was destined to become a worldfamous 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.
THE TALKING PICTURE
276
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
The Lost
and a number 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 produced it in 1934.
Patrol.
The
film featured taut direction
in
THE BARRETTS OF
WIMPOLE STREET
Katharine Cornell's stage success,

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
Metro brought
The Barretts of
direction.
(1934
277
Jesse L. Lasky, producing for Fox, turned out an

excellent screen version of John L. Balderston's
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.
play,
THE TALKING PICTURE
278
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
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.
j
ONE NIGHT OF LOVE (1934)
On page
10
we showed you
279
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
bottom of the picture, with Hollywood Boulevard cutting a perpendicular line almost exactly
down the center. Although most of the important
studios have moved to less thickly populated districts, the name Hollywood still means motion pictures the world over. It is a geographical curiosity in
at the
that it has no official existence, being merely a comparatively 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 Chinese Theater, on Hollywood Boulevard. Here is a
night shot of a typical premiere at the Chinese. Notice the lights of the
long line of cars on their
awaiting the arrival of the screen
I
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way
cordon of police, and the crowd
to the entrance, the
stars.
THE TALKING PICTURE
280
The year 1935 saw

be made entirely
the
first
feature-length picture
newly developed threecolor technicolor process. This was Becky Sharp,

to
in the
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 foreground is the sound engineer, who keeps the "level"
of the dialogue uniform as
transmitted to the
director, wearthe center, clasping his
it
is
sound booth. Rouben Mamoulian, the

ing glasses,
hands.
is
seated in
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
Sternberg combination
picture of the Dietrich-von
made
for Paramount.
DAVID COPPERFIELD (1935)
One
of the best pictures of the year was M-G-M's

David Copperfield, produced by David Selznick. Under George Cukor's direction, it held strictlv to the
Dickens story, with admirable results. Frank Lawton
played the grown-up David; Edna May Oliver, Betsey Trotwood; Lionel Barrymore, Peggottv; and
281
Rathbone, Mr. Murdstone. The child David

a newly discovered youngster of
great talent, Freddie Bartholomew, while W. C.
Fields contributed a fine portrait of Wilkins MicawBasil
was played by
ber.
The
last
two are shown
here.
THE TALKING PICTURE
282
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.
duced The Scoundrel.

artistic success.
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-
turned out to be the year's

Julie
Haydon.
BELOW
One
ABOVE BIGHT
It
Here are Coward and
of the thrillers of the year
was Paramount's
The Lives
of a Bengal Lancer, based on the autobiography of Yeats-Brown. Henry Hathaway directed
the film in a masterfully tense fashion. In this scene
Kathleen Burke, Cary Cooper, Lionel

Franchot Tone, and Richard Cromwell.
are
Atwill,
MUTINY ON THE BOUNTY (1935)
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 193435 season. In this scene, the
central figures are Gable, Digges, and Laughton.
In a totally different vein was Laughton's performance, as the valet won in a poker game, in Ruggles
of Red Gap, which Leo McCarey directed for Paramount. The front-row players shown here are
Laughton, Zasu Pitts, Roland Young, Charles Ruggles, and Leila Hyams.
THE TALKING PICTURE
284
O'Flaherty's novel The Informer was filmed by

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,
Liam
RKO
which John Ford was responsible. Here are Joe

Sawyer, Una O'Connor, Heather Angel, and McLaglen in a scene from the picture.
for
CAPTAIN BLOOD (1935)
Private Worlds, made by Paramount, dealt with

mental derangement and psychiatrical therapy and
handled this difficult theme with skill and sympathy. 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
285
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.
Astaire,
BELOW
Another spectacular sea picture of the year was a
screen version of Rafael Sabatini's Captain Blood,
produced by Cosmopolitan-First National and featuring Errol Flynn and Olivia de Havilland. As this
shot indicates,
it
was a boon
to the extras.
THE TALKING PICTURE
286
Ronald Colman had one of his most congenial and

successful roles as Sydney Carton in the 1935 screen
version
Carton
A Tale of Two Cities. In this scene,

descending from the tumbril on his way to
of
is
the guillotine.
The
girl is
Isabel Jewell.
The
picture
was notable
sets. Here
fidelity of its
and historical
one of the film's most
for the size

is
impressive sequences, the storming of the Bastille,

as reconstructed by M-G-M.
THE STORY OFLOUIS PASTEUR (1935)
1927 Garbo had played Tolstoy's Anna Karenina,

with John Gilbert as her leading man a silent picture, of course, and entitled Love. Eight years later
In
remade Anna Karenina, this time with Fredric

March as Vronsky. Clarence Brown directed this
she
version for
M-G-M.
BELOW
What
a "character actor"? He is an actor who

:an step completely out of his own personality to
Decome, for the moment, a completely different peris
287
He may be good or bad. He may be a ham, or

may be a great actor. Paul Muni is a character
actor, and a first-rate one. In 1935 he made what
son.
he
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

tures.
series of biographical picThis scene, with Dickie Moore, will give you
an idea of his
realistic
make-up.
THE TALKING PICTURE
288
Samuel Goldwyn produced The Dark Angel in 1935

and starred Merle Oberon, Herbert Marshall, and
Fredric
March
in
them
films,
"interesting." It
Warner Brothers. The cast was large,

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
play, for the
it.
BELOW
In the summer of 1934 Max Reinhardt staged a spectacular production of A Midsummer Night's Dream
in the Hollywood Bowl. The great Max had never
considered the
ing ones, therefore, when he agreed to collaborate

with William Dieterle in a screen version of the
but confessed that he found

was no surprise to the know-
the ballet
Bottom, holding the stage.
MODERN TIMES
By
(1936)
Temple was a veteran picture

with a following of faithful admirers that numbered millions. The child's uncanny charm was admirably exploited in The Little Colonel, made in
1935. This is the famous scene where she dances
downstairs with the great hoofer, Bill "Bojangles"
Robinson.
this time, Shirley
star,
BELOW
Came
and with it the first Chaplin picture in

Again Charlie stuck to his guns and presented 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
1936,
five years.
289
have been fatal, but to his fans Chaplin could do

no wrong. Modern Times was a tremendous success. This scene gives a good idea of the weird settings for this machine-age picture. The figure at the
left is Chaplin's old coworker from the Mack Sennett 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 Goddard, a
coveries.
newcomer
Here
hall sequences.
is
to pictures
Miss Goddard
and' one of his disin one of the dance-
THE TALKING PICTURE
290
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
BELOW
important
Thalberg production
production with a cast that included, besides Miss

Shearer as Juliet, Leslie Howard as Romeo, Basil
Rathbone as Tybalt, John Barrymore

and Edna May Oliver as the nurse.
Miss Shearer surprised
nature's well-designed settings.
An
Romeo and Juliet. Having planned it as a vehicle for

Norma Shearer, he gave it a magnificent
his wife,
many
1936 was
Incidentally,
of the prophets
ing a skilled and sensitive performance.

of
as Mercutio,
by
giv-
ROMEO AND JULIET
(1936)
291
The production was notable for the historical accuracy of its settings and costumes, for Thalberg had
sent research
men
to Italy to verify every detail of
and clothing. Shown here is the square

Verona where Mercutio and Tybalt are killed.
architecture
in
BELOW
In Mr.
Deeds Goes
to
Town, Gary Cooper,
relieved
of the necessity of playing the strong, silent
went
to
town on
his
own hook and
man,
revealed him-
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.
self as
THE TALKING PICTURE
292
Spencer Tracy, under Fritz Lang's direction, gave a

performance in Fun/, an uncompromising study
fine
that had many a thrilling moment.

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
of
mob madness
This
down
is
the
jail.
was My
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
Man
of the best comedies in recent years
Godfrey,
ONE HUNDRED MEN AND A GIRL (1936)
Three Smart Girls, a hitherto unknown youngster

>amed Deanna Durbin leaped into instant popularty. Universal promptly featured her in One Hunired Men and a Girl, with Leopold Stokowski. It
nade a star of her, and she became one of Univerial's biggest money-makers. Thanks to exceptionally
[n
293
intelligent handling by her producer, Joseph Pasternak, and her director, Henry Koster, she appeared
in a series of pictures that took her through the
difficult years of adolescence with undiminished
popularity.
THE TALKING PICTUR1
294
Lloyds of
overnight.
London made a star

Henry King directed
of
this
Tvrone Power
historical
film
Twentieth Century-Fox in 1936. Heading the

were Freddie Bartholomew, Madeleine Carroll,
and Power.
for
cast
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)
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From a volume of short stories by Roark Bradford,

Marc Connelly fashioned the play The Green Pastures, 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
light
arcs,
in the
making. Notice the battery of sunthe background, the
the studio cop in
and the cammiddle distance toward the
interested audience in the foreground,

era,
on a boom,
in the
left.
BELOW
Two
initial triumph in The Tliin

Man, Myrna Loy, William Powell, and Asta appeared in its successor, After the Thin Man. For
once, the sequel was up to the original.
years after their
HOI
THE TALKING PICTURE
296
took courage for Columbia to transfer George

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 uncompromisingly 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
It
Kelly's
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 MacDonald, and Jack Holt, with W. S. Van Dyke directing. 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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ggm
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Robert E. Sherwood's The Petrified Forest was transferred 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, especially 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
released this Goldwyn production in 1936. Below

are Huston and Miss Astor, who contributed one of
her best performances.
claimed actress, Bogart, and Joe Sawyer.
first-rate
Lewis novel. William Wyler handled the direction,

and Walter Huston, Mary Astor, and Ruth Chatterton turned in excellent performances. United Artists
BELOW RIGHT
Despite a rather sickening advertising campaign,
"Garbo loves Robert Taylor in Camille," it was a
Garbo's
BELOW LEFT
Another successful transference from stage to screen
was Sidney Howard's Dodswortli, from the Sinclair
refilming
of
performance
the
old
was one
George Cukor's direction one of

leased the
Tavlor.
film
in
1936.
Dumas
of
fih
classic.
her best,
his best.
Below, Garbo
Metro
is
and
re-
loving
THE TALKING PICTURE
298
The
1936 was M-G-M's

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
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
wrote The Prisoner of Zciula,
Colman.
really super-production of
screen
When Anthony Hope
DEAD END
1937
299
With Victor Fleming directing, M-G-M produced a

film version of Rudyard Kipling's epic of New England, Captains Courageous. Spencer Tracy
Academy award
for his
won an
performance, while Freddie
Bartholomew proved that his success in David Cophad been no accident. They are shown here,
with Lionel Barrymore handling the binoculars.
perfield
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 Norman 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.
THE TALKING PICTURE
300
Another spectacular production, still one of the high

M-G-M's
lights of motion-picture making, was
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 monument 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
Columbia's Frank Capra

erally impressive picture
1937)
301
made
a beautiful and genfrom 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

Everett Horton.
Jewell,
and Edward
BELOW
Outstanding, both for acting and make-up, was Sam
performance as the two-hundred-year-old
Jaffe's
High Lama. He is shown here with Ronald Colman.
THE TALKING PICTURE
302
In writing the screen play for A Star Is Born, Dorothy Parker, Alan Campbell, and Robert Carson disproved 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 drunkenness and suicide as his actress wife rises to star-
dom. March
at
is
Lionel Stander
is
the extreme left in this scene.
at the bar.
BELOW
The
to
its
was
a triumph for Janet Gaynor. Prior

production there had been much gossip that
picture
Miss Gaynor was "through." Her touching performance 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.
DAY AT THE RACES (1937)
This
is
a scene from the film that started the
303
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. Incidentally, 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 public demand." Whether or not the retirement is permanent remains to be seen. Here are the three fa-
mous clowns
in
M-G-M's
A Day
at the Races. Left
Harpo, Esther Muir, Groucho, and Chico.

Zeppo, originally the fourth Marx, quit the team
to right:
to
become
a motion-picture agent.
THE TALKING PICTURE
304
BELOW
The same year saw
the screen advent of Enilyn

psychopathological chiller, Night Must
Fall. Robert Montgomery, reprieved from an endless
succession of light-comedy roles, gave a performance of sinister power that stamped him as a superb
"straight" actor. Richard Thorpe directed the picture. In the scene above are Dame May Whitty,
Montgomery, and Rosalind Russell.
Williams'
The year was
rich in
comedy, producing
at
least
three pictures that are still fondly remembered and

frequently revived. One was The Awful Truth,
Leo McCarey for Columbia, in which

Cary Grant (on top of sofa) and Irene Dunne (in
furs) gave splendid performances.
directed by
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
materialized, to the dismay of
picture was directed by Norman McLeod and was

replete with camera tricks doors that opened by
themselves; tools that changed tires; and, the best
Nothing Sacred was another of these comedies. William Wellman directed it, and Carole Lombard,
Fredric March, and Walter Connolly were the leading players. In this shot, Connolly is standing at the
back of Miss Lombard's chair, with Fredric March
scowling in the background.
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
Young
the horror
of Virginia Sales.
BELOW
THE TALKING PICTURE
306
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-
brilliant,
ible.
scene.
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
Again, as
interest."
Pasteur picture, the experiment was

successful. Muni's make-up as Zola was amazingly
in the
and his performance was

memorable heights in the trial
Muni and Gloria Holden.
like the novelist's portraits,
rising
Here are
to
THE LIFE OF EMILE ZOLA (1937)
307
BELOW
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 following Zola's successful campaign to clear him of
the charge of treason. The woman with him is Gale
Sondergaard, as Mine Dreyfus.
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.
THE TALKING PICTURE
308
By 1938
Spanish
the
Civil
War was
in the public
It was a noble attempt,

a delicate subject, and not
William Dieterle directed.

for the Civil
War was
only to Hollywood.
Carroll,
shown
here,
BELOW
sufficiently
mind to attract Hollywood's

attention. Walter Wanger produced Blockade, an
original screen play by John Howard Lawson, which
uppermost
Henry Fonda and Madeleine

were the principals.
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
PP
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P^
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 believed in them. The scene in which Roland Young
and Douglas Fairbanks, Jr., start out to look for honest work will long be remembered. This group comprises Billie Burke, Fairbanks, Young, Janet Gaynor,
and Minnie Dupree. Richard Wallace directed the
film.
THE TALKING PICTURE
310
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The
other was M-G-M's Three Comrades, adapted

from Erich Maria Remarque's novel of postwar Germany. 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 CenturyFox 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
When Walt
Disney announced his intention of making 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 production. Disney listened politely, and released Snow
White and the Seven Dwarfs, which promptly broke
attendance records all over America, grossed about
(1938)
311
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-
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 Academy award went to Disney in 1938 for this picture.
terest,
THE TALKING PICTURE
312
was the American version of a French film,

Moko, and it featured two lovely girls: Sigrid
Gurie (left) and the Viennese Hedy Lamarr, whose
Algiers
Pepe
le
extraordinary beauty so hypnotized the spectators

that they didn't care whether or not she could act.
This is a publicity shot.
The
acting
ABOVE RIGHT
was provided, first, by Charles Boyer,
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.
whose undeniable
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)
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,
313
Dub
Taylor at the vibraphone,
Ann
Miller,
and Mischa Auer. The cast also included Jean Arthur, James Stewart, Lionel Barrymore, and Edward
Arnold.
BELOW
The Dawn Patrol, which had featured Richard Barthelmess 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
BELOW
Howard Hawks' production of Only Angels Have
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 filibuster speech in his own defense. Notice the amazing
faithfulness of this set.
Wings
offered several fine performances
cipals.
Shown here
by the prinmaking
are Richard Barthelmess,
a comeback, Cary Grant, and Thomas Mitchell. In

the background is Allyn Joslyn.
STAGECOACH
1939)
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.
315
BELOW
Disney's most notable production of the year was
The Ugly Duckling, and it got an Academy award.
THE TALKING PICTURE
316
An
ture
exceptionally honest and powerfully acted picwas 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 irresistible
performances. In this scene, the stern grand-
by what he thinks is his illegitimate grandson, becomes unexpectedly maudlin over

parent, confronted
being a grandfather.
THE OLD MAID
(1939)
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 Wharton's novelette, The Old Maid, an honest, well-
317
directed,
and well-cast production,
in
which Bette
Davis and Miriam Hopkins gave notable performances. 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.
THE TALKING PICTURE
318
Ben Hecht and Charles MacArthur made an expert

screen adaptation of Emily Bronte's novel, Withering 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
and personality were admirably suited to the moodiness of Heathcliff's character.
His was an unforgettable performance. In this scene
are Niven, Miss Oberon, and Olivier.
Olivier's acting talents
GONE WITH THE WIND
The
(1939)
great event of 1939, of course, the production
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, althat
319
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 hostile
interludes.
THE TALKING PICTURE
320
Leslie
(left)
Howard, shown here with Olivia de Havilland

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.
picture took nearly two years to make and cost

$3,850,000 easily the most ambitious offering the
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)
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 actress; 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 editing. David O. Selznick received the Thalberg Memorial 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
321
burning of Atlanta, one of the

exciting sequences ever made.
costliest
and most
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 motionpicture public. With Donat, in the scene above, is
Terry Kilburn, who also turned in a fine performance.
THE TALKING PICTURE
322
who becomes a
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 Menjou, and Holden. Rouben Mamoulian directed the
Cliflurd Odets' play of a violinist
prize fighter,
film.
Another fine film from England was George Bernard

Shaw's Pygmalion, released by M-G-M. Leslie Howard not only played the lead but also codirected the
picture with Anthony Asquith. This was the first
play ever screened, and Shaw was delighted
Here are Howard and Wendy Hiller, who
gave an unforgettable performance as the flower girl
who is transformed into a lady.
Shaw
with
it.
THE WOMEN
The year
male
'39 also
(19
saw
323
9)
a reversal of the usual all-
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
bathtub, impersonated by Joan Crawford.
BELOW
cast, in
ladylike
which
moments
reveals,
is
in the
shot
above,
traditional sequence,
Norma
reflected
in
the
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
Here
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.
is
THE TALKING PICTURE
324
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:
goldfish;
Figaro, the kitten; Cleo, the amorous

who acted as Pinocchio's
Jiminy Cricket,
and Pinocchio himself. Notice Pinocchio's

hand. Like most Disney characters, human beings
alone excepted, it has only three fingers and a thumb.
conscience;
BELOW
Cary Grant and Irene Dunne followed their hilarious The Awful Truth with another successful com-
My Favorite Wife. In this scene are

maker, Miss Dunne, and Grant.
edy,
Ann
Shoe-
NO TIME FOR COMEDY
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.
325
(1940)
BELOW
In the movie version of S. N. Behrman's No Time
for Comedy, Rosalind Russell played the part created by Katharine Cornell on the stage. She is
shown here with Allyn Joslyn.
THE TALKING PICTURE
326
In screening Christopher Morley's Kitty Foyle, Ginger 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 Pulitzer 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 admirably. She is shown here with Laughton and
William Gargan.
REBECCA
1940)
327
Preston Sturges, author of the play Strictly Dishonorable 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
one
dollar,
taking his change, as director, on the
The
was a great success
in 1939.
therefore, in inducing
result,
The Great McGinty,
He had no
Paramount
to let
mas in July, The Lady Eve, and Sullivan's Travels.

Above is Brian Donlevy, who played McGinty.
Paramount
direct.
refused, but offered a large sum for the story. Sturges

finally got his way by selling his bosses the story for
profits of the picture.
the same procedure with his later pictures, Christ-
difficulty,
him follow
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.
THE TALKING PICTURE
328
Bette Davis added to her reputation as one of Hollywood'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)
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.
329
One
of the brightest comedies of 1940
Barry's
The Philadelphia
was
Story, with Katharine
Philip
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.
THE TALKING PICTURE
330
fane Austen's beloved novel, Pride and Prejudice,

in 1940. Robert Z. Leonard directed a first-rate cast, Greer Garson especially con-
was filmed by Metro
tributing a glowing and delicate performance. Here

are Melville Cooper, Mary Boland, Miss Garson, Ann
Rutherford, Marsha Hunt, and Edna May Oliver.
Not shown
Laurence
in this scene
Olivier.
is
Mr. Darcy, played by
BELOW
Rood
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 Schertzinger for Paramount in 1940.
to
THE GREAT DICTATOR
(1940)
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
demanded
Chaplin) Billy Gilbert as Herring, and Henry Daniell as Garbitsch. Second from the left in the back
row is Reginald Gardiner as Schultz.
BELOW
time in his
he played a speaking part. His enunciation

was perfect, and his voice was pleasant in quality
career,
and, when the occasion

great pantomimist was
331
it, powerful. The

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 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, nevertheless, worthy to rank among Chaplin's happiest
inspirations. Chaplin, as usual, produced, wrote, and
directed the film.
THE TALKING PICTURE
332
Through a
fortuitous chain of circumstances the dicarrested 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. Invited 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
tator
is
Stokowski, with animated program notes to take the

place of the usual printed ones. The animation, needless 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
Gardiner),
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
Many
the only traditional Disney character in Fantasia.
about to mount the reviewing stand.

objected to the final speech in the picture on the ground that it took Chaplin out of character and was not in key with what had gone before.
critics
BELOW RIGHT
Fantasia offered a program of descriptive music, re-
Tchaikovsky's Nutcracker Suite, a Disney masterpiece, 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 reproduction of the music. Recorded on three sound
tracks, it was produced through a battery of sixty
loudspeakers placed throughout the theater, giving
corded by the Philadelphia Orchestra under Leopold
the music a quality of astonishing fidelity.
BELOW LEFT
Chaplin talked, Disney gave a concert. In Fantasia, released in the late fall of 1940, he disclosed
something new in the line of musical entertainment.
If
FANTASIA
The
first
sky's
The
1940)
half of the program closed with StravinRite of Spring. The music to the ballet for
was
originally written caused an uproar

hearing and is still considered too advanced for the average taste. Nevertheless, as realized 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.
which
this
at
first
its
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.
333
BELOW
No
other picture of 1941 was more volubly discussed than Orson Welles' Citizen Kane. When RKO
commissioned a picture from Welles, who had made
a reputation in radio and as director of the Mercury 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 paralleling 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 mentioned the film or Welles. Citizen Kane didn't need
the publicity, for
it
was an engrossing
film.
THE TALKING PICTURE
334
The
critical
stating
that
acclaim approached hysteria, one critic

"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 interesting photographically. Gregg Toland was the photographer.
BELOW
There was excellent acting in the picture, particularly 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 eloquently. The leads were played by Ann Sheridan,
Betty Field, Ronald Reagan, and, above, Robert Cummings and Claude Rains.
SERGEANT YORK
335
(1941)
Another Warner picture of 1941 was Sergeant York,

a biography of the World War I hero. Gary Cooper,
as the rustic conscientious objector
who became
the
famous
soldier,
Joan Leslie,
excellent.
added
to his
who played
list
of fine performances,
his sweetheart,
was likewise
THE TALKING PICTURE
336
The old master

Suspicion for
made
who had
of suspense, Alfred Hitchcock,
RKO
in 1941.
Joan Fontaine,
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
The
Little Foxes,
was
and sardonic play
of greed,
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 Marshall,
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
How Green Was Mij Valley, a story of a

Welsh mining town. John Ford did his usual firstrate job of directing, and Walter Pidgeon and Roddy
McDowall. heading a large cast, turned in memoranovel,
The sets, as you can see, were

and substantial. Wartime economy note: If
you happened to see the film version of John Steinbeck'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.
ble performances.
realistic
THE TALKING PICTURE
338
As
this
book goes
to press, there is at least
of middle-class English life during the war. William

Wyler, who has done good pictures for virtually all
studios, was the director. The cast included
Teresa Wright, and Walter Pidgeon and Greer Garson 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.
the
ENVOI
one 1942
picture that deserves inclusion Metro's production

of Mrs. Miniver, derived from Jan Struther's sketches
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 industry that
makes
its
history from
day
could hope to do was to show you

past,
is
in
and some
the hands
of
its
present.
of you,
its
As
its
to day. All
we
beginnings,
to its
its
future that
audience.
DEEMS TAYLOR
))
))
APPENDIX
ACADEMY OF MOTION PICTURE ARTS AND SCIENCES AWARDS
Heaven
and
Lewis Milestone
Actor
Actress
Director
1927-28 Frank Borzage (Seventh
Heaven,
Janet Gaynor (Seventh

Street Angel, Sunrise)
The Way of
The Last Command)
Emil Jannings
Flesh,
All
Two
Arabian Knights)
1928-29 Frank Lloyd (Weary

River, Divine Lady,
Drag)
Mary Pickford (Coquette)
1929-30 Lewis Milestone (A/7

Quiet on the Western
Norma
Warner Baxter (In Old Arizona]
Shearer (The Divorcee)
George
Arliss (Disraeli)
Front
1930-31 Norman Taurog (Skippy)
Marie Dressier (Min and
1931-32 Frank Borzage (Bad
Helen Hayes (The Sin of MadeIon Claudet)
Fredric
1932-33 Frank Lloyd (Cavalcade)
Katharine Hepburn
Glory
Charles Laughton (The Private Life

of Henry VIII)
1933-34 Frank Capra (It Happened One Night)
Claudette Colbert
One Night)
1934-35 John Ford (The Informer)
Bette Davis
1935-36 Frank Capra (Mr. Deeds

Goes to Town)
Luise Bainer
1936-37 Leo McCarey (The Aw-
Luise Bainer
Girl)
Morning
(It
Happened
March
Hyde)
and Mr.
Dr. Jchjll
Happened One
Clark Gable (It
Night
Dangerous
(
(A Free Soul)
Lionel Barrymore
Bill)
Victor
McLaglen (The Informer)
The Great Ziegfeld
Paul Muni
Pasteur
The Good Earth
Spencer Tracy
geous)
ful Truth)
The Story
of
Captains
Louis
Coura-
1937-38 Frank Capra (You Can't

Take It With You)
Bette Davis (Jezehel)
Spencer Tracy
1938-39 Victor Fleming (Gone

With the Wind)
Vivien Leigh (Gone With the
Bobert Donat (Good-bye Mr.

C'ips)
1939-40 John Ford (The Grapes

of Wrath)
Ginger Bogers
1940^1 John Ford (How Green
Joan Fontaine
Was My
Kitty Foi/le
James Stewart
Boys Town
The Philadelphia
Story
(
Suspicion
Gary Cooper (Sergeant York)
Valley)
1941-42 William Wyler (Mrs.

Miniver)
Wind)
Greer Garson (Mrs. Miniver)
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
Atwill, Lionel, 267, 280, 282,
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
312
Alice in Wonderland, 266
All Quiet on the Western Front,
222-223, 225
Allen, Fred, 25
Alvarado, Don, 209
Algiers,
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
Becky Sharp, 280

Beery, Noah, 165, 173, 206
Ashes of Vengeance, 138

Asquith, Anthony, 322
Astaire, Adele, 285
Astaire, Fred, 261, 262, 285
Asther, Nils, 259
Astor, Mary, 297
Beery, Wallace, 37, 130, 138, 164

210, 224, 243, 253, 260, 263
Beethoven, Ludwig van, 333
310
Auer, Mischa, 292, 313

Austen, Jane, 330
Awful Truth, The, 304, 324
Ayres, Agnes, 118, 120, 178
Ayres, Lew, 222, 223
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,
Bach, Johann Sebastian, 332

Rachelor Mother, 316
Back
Street,
254
Bacon, Lloyd, 252
Bad
Girl,
305
256
Bennett, Enid, 132, 155

Bennett, Joan, 265, 285
Bennett, Richard, 142
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

30
Barretts of
Wimpole
Street,
Life,
The,
277
James M., 87, 174
108
Barrie, Wendy, 299
Barriscale, Bessie, 27, 88
Barry, Eddy, 16
Barrie, Sir
Barrie, Nigel, 83,
Barry, Leon, 111

Barry, Philip, 249, 329
Barry, Wesley, 152
Barrymore, Ethel, 250
Barrymore, John, 132,
193, 230, 247, 250,
159,
254,
206,
260, 281,
Barthelmess,
116, 157,
181,
260,
314
Bartholomew, Freddie, 281, 294,
299
Battle of the Sexes, 209
Baum, Vicki, 253
Baxter, Warner, 252, 275
Beavers, Louise, 275

Beckley, Beatrice, 24
341
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
11, 142, 151,

216, 233, 250, 253,
299, 303, 313
Richard, 66, 87, 104,
228, 229, 271, 313,
Bay, Tom, 71
Bayne, Beverly, 25, 65
Beardsley, Aubrey, 141
Beau Brummel, 159
Beau Geste, 173
Beauty Market, The, 108
Bergman, Henry, 74
Berkeley Square, 211
Bernhardt, Sar?h, 20-22
Better Wife, The, 83, 108
Between Showers, 41
Bitzer, G.
290
Barrymore, Lionel,
195,
Beggar on Horseback, 170

Beggars of Life, 210
Behrman, S. N., 325
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,
187, 189
53,
Bowers, John, 129
174,
180,
182,
INDEX
342
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,
Carpenter, Horace B., 51

Carpenter, Jeanne, 138
Connecticut
Carr, Mary, 110
Connelly, Marc, 295

Connolly, Walter, 305
Castle, Irene, 155
Cooper, Gary, 31, 176, 189, 207,
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, 331332, 333

Chatterton, Ruth, 216, 269, 297
245
Cherryman, Rex, 115
Chevalier, Maurice, 217, 274
Christie, Al, 15, 16, 18, 53,
Bryant, Charles, 124, 141
Cimarron, 245, 254

Circus, The, 208, 245
Citizen Kane, 94, 333-334
Christoplier Strong, 251
216
Bushman, Francis
X., 25, 54, 179,
191
Bushman, Francis
259
327
in July,
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
225
S., 276
Clive, Colin,
X., Jr.,
210
Byington, Spring, 265, 313
Cabanne, Christy, 49
Cabinet of Dr. Caligari, The, 9495
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
Cobb, Irvin
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,
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
Monte
Cristo,
The
(1909),
Count of Monte
Cristo,
The
(1913),
Cristo,
The
(1922),
Count
of
15
Cherrill, Virginia,
Christmas
Bushell, Anthony,
King Ar239
Conrad, Joseph, 325

Conway," Jack, 12, 33, 68
Coogan, Jackie, 111, 144, 232, 308
Christie, Charles, 16
Burnett, W. R., 226

Burns, Neal, 16
Burroughs, Edgar Rice, 255
Burton, Charlotte, 58
in
Carradine, John, 315

Carroll, Madeleine, 294, 298, 308
Carroll, Nancy, 209, 226
Carson, Robert, 302
287
Brown, John Mack, 213
Brown of Harvard, 183
Buck, Pearl, 300
Buckland, Wilfred, 27
Bunny, John, 18
Burke, Billie, 260, 298, 309
Burke, Kathleen, 282
Burke, Thomas, 86
Yankee
thur's Court, A, 115,
336
24
Count of Monte
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
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
Daddy, 144
Daddy Long
Legs, 86
Dagover,
95
Lil,
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
343
Daniell, Henry, 331
Bebe,
Daniels,
72,
73,
75,
106,
Donnelly, Dorothy, 191

Don't Change Your Husband, 84,
119, 150, 218

Daniels, Mickey, 143
106
Doro, Marie, 65
D'Arcy, Roy, 171
Dorothy Vernon of H addon Hall,

155
Dos Passos, John, 280
Dove, The, 206
Dovey, Alice, 34
Down to the Sea in Ships, 180
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
Dawn
Patrol,
Patrol,
The (1930), 229

The (1938), 313
A, 303
Day at the Races,

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
Dr. Jekyll
New
York, 204
and Mr. Hyde, 247, 256

Dodsworth, 297
Dollar a Year Man, The, 114
Doll's House, A,
Don
124
Juan, 193, 201
Dream
Street,
111
Fantasia, 221, 332-333

Farewell to Arms, A, 256, 257
Farina, 143
Farnum, Dustin, 26-28, 69, 110
Farnum, William, 110
Farrar,
Geraldine,
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
52,
76-77.
229
Farrell, Charles, 196, 205, 218,
Fast and Loose, 225

Fatty and the Heiress, 39
Fatty's Flirtations,
Dresser, Louise, 167

Dressier, .Marie, 42, 223, 224, 260,
51,
155, 184
39
Faye, Julia, 104

Fazenda, Louise, 54, 74
Feet of Clay, 104, 105
Ferber, Edna, 164, 245, 260, 294,
307
276
334
Fetchit, Stepin,
Field, Betty,
Fields, W. C, 258, 264, 281

Fighting Chance, The, 105
Figman, Max, 27
Finch, Flora, 198
Finlayson, Jimmy, 54, 57
Fiske, Minnie Maddem, 29
Eagels, Jeanne, 219

Eagle, The, 167
Eagle of the Sea, 180
Eagle's Feather, The, 142
Eagle's Nest, The, 7-8
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
Earles, Harry, 163
Fonda, Henry, 308, 328
Easiest
Way, The, 233
Fontaine, Joan, 323, 327, 336
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
Marquis de
Donald Duck, 275
Falaise,
Donat, Robert, 321

Donlevy, Brian, 327
False Colors, 32
Family Affair, A, 303
la,
167
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,
284, 315, 328, 329, 337
Ford, Phil, 59
Ford, Wallace, 276
Forde, Eugenie, 17, 58
276,
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,
Fred
Ott's Sneeze,
300
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
INDEX
344
From
the
Manger
to the Cross, 19-
20
Front Page, The, 237-238, 323
Fuller, Dale, 126
Mary, 30
Fun/, 292
Fuller,
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,

195, 197, 222,
171, 172, 184,

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
Hatton, Raymond, 65, 76

Haver, Phyllis, 54, 55, 147, 209
Hawks, Howard, 229, 314, 323
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,
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
28,
Raymond, 223
Young, 4
Gruenberg, Louis, 266
Guardsman, The, 240
Guinan, Texas, 59
Gurie, Sigrid, 312
Gypsy Trail, The, 83
Griffith,
Griffo,
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
Hawley, Wanda, 83
Hay, Mary, 104
Hayakawa, Sessue, 85
Haydon, Julie, 282
Hayes, Helen, 213, 244, 256,
Gets Slapped, 153,
207
Hearts of the World, 82, 83,
Hecht, Ben, 193, 237, 282,
He Who
323
Hellman,
Lillian,
Hell's Angels,
Hemingway,
257
160,
282
318,
336
230-231
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
345
Humphries, Oral, 58
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
Hunchback
Am
from a Chain
Fugitive
Gang, 252
Ibanez, Blasco, 116, 117, 125, 195
Ibsen, Henrik, 124
Idols of Clay, 105
Had a
Were
If I
If I
258
King, 110
Million,
You Believe
//
It, It's
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
111,
188
Invisible
69
Man, The, 261
Irene, 175
Iron Horse, The, 158

Irwin, May, 4
Life Wonderful?, 151
187
It,
It
Happened One
It's
No
Night, 271
Laughing Matter, 32
lackanapes, 17
Jaffe, Sam, 301
Jamison, Bud, 72, 73
Jane, 50
Janecke, Joseph
Janis, Elsie,
J.,
16
108
Jannings, Emil, 148, 199, 204

Janssen, Werner, 227
Jazz Singer, The, 201-202, 211
Jeffries, James, 6
Jenny Be Good, 106

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
Jes' Call
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
276
129,
Keeler, Ruby,
S.,
252
Keighley, William, 295

Keith, Ian, 246
Kellerman, Annette, 66
Kelly, George,
Kelly,
296
Tommy, 308
Kennedy, Madge, 264

Kennedy, Merna, 208
Kenyon, Doris, 149, 236, 269
Kern, Jerome, 294
Kerrigan, James Warren, 70, 78,
145
Kerry,
Kessel,
Intrigue, The,
Isn't
Joslyn, Allyn, 314, 325

Josselyn's Wife, 88
260, 307, 313

Keaton, Buster, 147, 188
So, 121
86,
Edward, 33
Kaufman, George
Ince,
61-64,
Jose,
Karloff, Boris, 235,
Imitation of Life, 275

Immigrant, The, 74
Impossible Mrs. Bellew, The, 121
In the Bishop's Carriage, 22
Intolerance,
Jordan, Dorothy, 224
Norman, 161
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
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
King Kong, 260
335
Lester, Kate, 78
Kmg
of Kings, The, 198-199

Kings Row, 334
Kingsley, Sidney, 299
Kingston, Winifred, 69
Kipling, Rudyard, 33, 299
Kirkwood, James, 142
Letter,
Kismet, 237
Life of Emile Zola, The, 306-307

Lilac Time, 207
Liliom, 229
Kiss for Cinderella, A, 174

Kitty Foyle, 326
Leslie, Joan,
Letter,
The (1929), 219

The (1940), 328
Lewis, Ralph, 46, 61, 86

Lewis, Sinclair, 244, 297
Life of an American Fireman, The,
.
Korngold, Erich, 288
Limur, Jean, 219
Kornman, Mary, 143

Kosloff, Theodore, 140
Koster, Henry, 293
Krasna, Norman, 316
Krauss, Werner, 95
Kruger, Otto, 272
Lindsay, Margaret, 269

Lion and the Mouse, The, 128
Anne, 82
American, The, 79
Little Annie Rooney, 168
Little,
Little
226
Little Caesar,
The, 289
The, 336
Little Colonel,
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
Little Foxes,
Little
Lord Fauntleroy, 113
The, 121
Miss Marker, 275
Little Old New York, 134
Little Minister,
Little
Little
Women, 265
Littlefield,
Lucien, 105, 188
INDEX
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,
Manners, Lady Diana, 128
Millard, Harry, 25
Mansfield, Richard, 191
Miller,
Manslaughter, 226
Mantrap, 180
March, Fredric, 226, 246, 247, 256,
258, 277, 287, 288, 302, 305,
Miller, Patsy Ruth,
325
Marion, Frances, 224
Mark of Zorro, The, 103, 111
Marriage License, 177
Marsh, Mae, 46, 61
Marshall, Herbert, 219, 256, 288,
336
326
Lomhardi, Ltd., 91
London, Jack, 31, 33, 35
Lonely Villa, The, 11
Lonesome Luke, 73
Long Voyage Home, 329
Marshall, Tully, 61, 65

Martin, Vivian, 79
Marx Brothers, 303
Mason,
Shirley,
66
Massacre, 271
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
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
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
McCrea, Joel, 299

McCutcheon, Wallace, 98
McDaniel, Hattie, 321
McDermott, Marc, 30
McDowall, Roddy, 337
Lyon, Ben, 231

Lvons, Eddie, 16, 17
McGowen,
Lytell, Bert, 91, 121, 142, 165
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
Robert, 143
McGrail, Walter, 98
MacArthur, Charles, 237, 244, 282,

318, 323
MaeDonald, Donald, 17
MacDonald, J. Farrell, 209
MaeDonald, Jeanette, 217,

274, 296
MacDonald, Joe, 13
MacDonald, Mrs. Joe, 13
MacDonald, Katherine, 82,
229,
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,
280, 322
Mann, Hank, 38
Mann, Margaret, 210
Manners, David, 225
268,
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
Miller,
Ann, 313
115
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
Tom, 85
Moana of the South
Moby Dick, 230
Modern Times, 289
Mix,
Seas, 184, 241
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
347
My Favorite Wife, 324

My Man Godfrey, 292
My Valet, 31
One Hundred Men and a

One Night of Love, 278
One-Way Passage, 253
Mvers, Carmel, 63, 179

Myers, Harry, 115, 135, 239, 245
O'Neill, Eugene, 24, 134, 223, 249,
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
Niven, David, 313, 316, 318
No Time
for
Comedy, 325
Normand, Mabel,
42
28, 30, 31, 39,
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,
Olmsted, Gertrude, 53, 152
On
One
Trial,
203
Exciting Night, 122
330
293
Pratt, Purnell,
215
Prevost, Marie, 55, 56, 57,

Price, Kate,
Pride
and
Prior,
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
112, 122, 142, 178

Prisoner of Zenda, The
Private Lives, 234

Private Worlds, 285
Public
Enemy, 241
Puccini, Giacomo, 184
Purviance, Edna, 74, 133
Pygmalion, 322
Page, Anita, 220, 233
Qualen, John, 329
Eugene, 63, 111, 292

Palmer, Ernest, 205
Queen
Queen
Panzer, Paul, 8
Parker, Dorothy, 302
Parker, Jean, 265
Rae, Isabel, 13
Raft, George, 251, 258
Pallette,
Christina,
262
Elizabeth, 20-22, 23
Parsons, Louella, 167

Parsons, Thomas, 12
Passion, 148, 199
Passion's Playground, 108
Pasternak, Joseph, 293
Rain, 206
Rainer, Luise, 300
Rains, Claude, 261, 334
Ralph, Jessie, 240
Ralston, Esther, 156
Rambeau, Marjorie, 261
Pathe, 72, 166
Rambova, Natacha, 141
Parson of Panamint, The, 69
The, 204
Rand,
Pavlova, Anna, 67
Penalty, The, 107
Pendleton, Nat, 246, 298
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
Mary, 53, 161

Pickford, Jack, 13, 160, 183
Pickford, Lottie, 13, 58
Philbin,
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
Zasu, 154, 204, 283

Plane Crazy, 221
Plunder, 100, 101
Pollard, Snub, 73
Pollyanna, 93, 102
Ponchielli, Amilcare, 333
Pitts,
Poppy, 264
Porter,
Edwin
Post, Wiley,
Powell,
Powell,
Powell,
Powell,
292,
S., 6, 7,
24
276
David, 105
Frank, 33
Paul,
93
William, 173, 253, 273,

295, 298
Power, Tyrone, 294, 310
Power and the Glory, The, 264
(1937),
298
Owen, Seena, 61
Pepe
244
175
Prejudice, 330
Herbert, 93
Prisoner of Zenda, The (1913), 24
Prisoner of Zenda, The (1922),
266, 329
Patriot,
Nissen, Greta, 231
Girl,
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
Enoch J., 6
Redman, Frank, 59
Reed, Luther, 218
Rector,
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
to Singapore, 330
Road
INDEX
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
Ruggles of Red Gap, 283

Runvon, Damon, 259
296, 304, 323,
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'
Stanford, Leland, 2
Stanley, Forrest, 50, 198
Norma,
Shearer,
153,
160,
Stanwyck, Barbara, 259, 322

Star Is Born, A, 302
Starke, Pauline, 63, 121
Starr, Frances,
58
Ruth of the Rockies, 102

Rutherford, Ann, 330
191,
214, 233, 234, 249, 277, 290,
323
Salome, 141
Salvation Hunters, The, 158
Sampson, Teddie, 28
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,
Sterling, Ford, 28, 30, 38, 39, 40,
J.
Shoemaker, Ann, 324

Show Boat, 294
Sidney, George, 248
Sidney, Sylvia, 232
Siegman, George, 111
Symphony, 221
Seitz,
267
George
Selig,
William N., 12
Secrets,
Selznick,
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,
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
205
B., 98,
David
303
O., 261, 281, 298,
308, 309, 319, 321, 327
170
267
Stella Dallas,
C, 225
Sherman, Lowell, 104, 266
Sherriff, R.
268
Sandow, Eugene, 5
San Francisco, 296
Sapho, 237
Sawyer, Joe, 284, 297
Steinbeck, John, 316, 328, 337

Sten, Anna,
Silver King, 71
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
Steadman, Myrtle, 32, 33

Steadman, Vera, 55
Steamboat Willie, 221
Sheik, The, 118

Sheridan, Ann, 334
Silly
Sabatini, Rafael,
233
225
Starrett, Charles,
Sign of the Cross, The, 246

Silent Battle, The, 70
Sills, Milton, 155
325
Russell, William,
Stagecoach, 315
Stahl, John M., 254, 275
Stallings, Laurence, 172, 182
Stand Up and Cheer, 275
Stander, Lionel, 302
Barney, 12
Sherwood, Robert E., 297
Rubens, Alma, 63, 177
Rosalind,
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
Sherry,
Ruggles, Charles, 266, 283

Ruggles, Wesley, 245
Russell,
Selznick,
Spoilers, The,
110
Squaw Man, The (1913), 26-28

Squaw Man, The (1918), 82
Stage Door, 307
Stephen Steps Out, 135
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,
Street Scene,
205
232
Dishonorable, 327
Stroheim, Erich von, 61, 83, 89,
Strictly
126, 127,
204, 215
135,
154,
161,
171,
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
327
Sunny Side Up, 218
Sunrise, 197
Suspicion, 336
Sutherland, Edward, 28, 264
Swain, Mack, 39, 55, 169
Swanson, Gloria, 25, 37, 39, 55,
Sullivan's Travels,
58,
84, 87, 88, 106, 121, 134, 140,

167, 206, 215, 274
Swedie, 37
Sweet, Blanche, 23, 68, 134
Swickard, Joseph, 118
INDEX
349
Tabu, 241
Tale of
Two
Cities,
(1915), 53,
89
Tale of
Two
Cities,
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,
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
Nightmare, 42
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
Tillie's
Tillie's
46
Wanger, Walter, 285, 308, 315
Torrent, The, 195
War
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
143
Test of Honor, The, 132
Texas Rangers, 290
Henry
Torrence, David, 143

Torrence, Ernest, 143, 145
Vagabond King, The, 229

Valentino, Rudolph, 116-118, 119,
125, 149-151, 167, 178, 180
Valley of the Moon, The, 33
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
Valli, Virginia,
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
Walthall,
B., 23,
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
INDEX
350
Wright, Teresa, 336, 338
Wuthering Heights, 318

Wycherly, Margaret, 325
Wyler,
William,
336, 338
297,
299,
318,
Young,
Young,
Young,
Young,
Clara Kimball. 83 108, 155

Loretta, 207, 257 310
Roland. 2S2, 283, 305, 309
Yt)iiii
in
Robert, 310
Heart, The, 309
Younge, Lucille, 29
Yeats-Brown, Francis, 282
You Can't Take It With You, 313
Zaza. 48
Ziegfekl, Florenz,
298
Ziegfekl Follies, The, 105,

134, 169, 264
Zola, Emile, 267, 306, 307
Zoo in Budapest, 257
109,
Zudora, 36
Zukor, Adolph, 21, 22, 29, 48, 49,
51, 65, 106. 167
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288, 289, 290, 291, 292, 293, 295, 296

297 (below), 298, 299, 300, 301, 302, 303 (below),

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152 (above), 153

(above), 168 (below), 169 (below), 170, 172, 173

(above), 316, 317, 318, 319, 320

(below), 175 (above), 179 (below), 180 (below),

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329 (above), 330 (below), 338.

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260 (above), 262 (below), 266 (above left), 267

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