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- Writer
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Friedrich Schiller was born on Nov. 10, 1759, in Marbach, Germany. His father was an army doctor. Growing up in a very poor environment, Schiller eventually managed to get the support of a wealthy duke that enabled him to study medicine. He served as a military doctor first, but through the efforts of Johann Wolfgang von Goethe he finally went to Jena and Weimar, where he died on the May 9, 1805.
Schiller is an important German author of his time, most famous for his stage plays. They were highly acclaimed--and mostly forbidden, because of their contents. His first big work, "Die Räuber", dealt with the revolt of sons against their parents and environment, a very modern topic for the time and one that was not accepted in many regions of Germany. Overall, though, he is underrated as an author due to the fact that he lived and wrote in the same time as Goethe: Schiller is considered to be a good writer, but not as brilliant as Goethe.- Music Department
- Writer
- Composer
Hector Berlioz was born on December 11, 1803, into the family of Dr. Louis Berlioz and Marie-Antoinette-Josephine. Hector was the first of six children, three of whom died. He took music lessons at home from a visiting teacher and played flute and guitar. By age 16 he wrote a song for voice and guitar that was later reused for his "Symphonie Fantastique."
In 1821 Berlioz went to Paris to study medicine. His impressions of the Paris Opera performance of "Iphigenie en Tauride" by Christoph Willibald Gluck turned him on music forever. He spent more days at the Paris Conservatory than at the medical school. In 1823 he started writing articles on music for "Le Corsaire". He abandoned medicine for music and successfully performed his "Messe Solennelle" in 1825. After being "cursed" by his mother for abandoning medicine, his allowance from his father was reduced, and was forced to take such jobs as a choir singer to support himself. In 1828 he heard the 3rd and 5th Symphonies by Ludwig van Beethoven and with that impression he read "Faust" by Johann Wolfgang von Goethe. With such inspiration he started composing "La Damnation de Faust."
Berlios fell in love with Irish actress Harriet Smithson and became so inspired that he finished the "Symphonie Fantastique." He premiered the work and met Franz Liszt at the premiere. They became good friends and Liszt transcribed the "Symphonie Fantastique" for piano. In 1830, after being rejected by Harriett Smithson, Berlioz became engaged to pianist Camille Moke. He went to Rome as the Prix de Rome Laureate and met Felix Mendelssohn and the Russian Mikhail Glinka. All three became friends for many years. At that time Berlioz received a letter from his fiancée that she had decided to marry M. Camille Pleyel, a wealthy piano maker in Paris. He decided to return to Paris and kill his fiancée, Mr. Playel and himself, but the long trip cooled him down. He stopped in Nice and composed "Le Roi Lear," inspired by William Shakespeare's play "King Lear".
Back in Paris he became friends with Victor Hugo, Alexandre Dumas, Niccolò Paganini, Frédéric Chopin and George Sand. He met writer Ernest Legouve and they became lifelong friends. In 1833 he finally married Harriet Smithson, with Liszt himself as one of his witnesses. Their son was born in 1834. Later he had a mistress, singer Marie Recio, whom he married after the death of Hariet Smithson in 1852.
Berlioz was an influential music critic. He wrote about Giacomo Meyerbeer, Mikhail Glinka, Paganini, Liszt and other musicians. From 1834-38 he completed the opera "Benvenuto Cellini". In 1938 his "Harold en Italie" was performed at the Paris Conservatoire. His friend Paganini was so impressed by that performance that he gave Berlioz 20,000 francs.
In the 1840s Berlioz toured in Europe and strengthened his friendship with Mendelssohn-Bartholdy', Richard Wagner, Giacomo Meyerbeer and Robert Schumann. After extensive concertizing in Belgium and Germany, Berlioz returned to Paris. There his friend Mikhail Glinka, who lived in Paris for over a year, came up with the idea of concerts in Russia. Berlioz's joke "If the Emperor of Russia wants me, then I am up for sale" was taken seriously. Having Mikhail Glinka as a convert, Berlioz was invited to Russia twice, and each tour brought him financial gain beyond his expectation. His deep debts in Paris were all covered many times over after his first concert tour of Russia in 1847. Back in Paris he was having difficulties in funding performances of his massive works and lived on his witty critical publications. His second tour of Russia in 1867 was so much more attractive that Berlioz turned down an offer of $100,000 from American Steinway to perform in New York. In St. Petersburg Berlioz took special pleasure in performing with the first-rate orchestra of the St. Petersburg Conservatory.
His second Russian concert tour was a successful finale to his career and life. Berlioz never performed again. He died on March 8, 1869, and was laid to rest at the Cimetiere de Montmartre with his two wives.- Emile Gaboriau has been described both as the father of the detective novel and the Edgar Allan Poe of France. His fictional detective, Monsieur Lecoq, is thought to have been based on the "Mémoires" (1828-29) of Eugène-François Vidocq, a reformed petty criminal who helped establish the Police de Sûreté in Paris. Lecoq is considered a precursor of Sherlock Holmes. Gaboriau wrote 21 novels altogether.
- Music Department
- Writer
- Composer
In 1856 Moussorgsky joined the Russian army where he met the piano player and composer 'Balakirev' who taught him composition. As he could not finish his studies in music, Moussorgsky did not know all stylistic means of composition perfectly and thus had to follow his instinct in his works becoming the pathmaker of the musical impressionism as well as expressionism: He was the first to compose realistic pictures, e.g. "Pictures at an Exhibition". Having no success during his lifetime Moussorgsky spent all of his fortune ending up a poor man addicted to alcohol.- Considered to be the first American serial killer and possibly the most prolific, he was also a con-man and bigamist. He was a doctor who studied medicine at Ann Arbor, MI. He then moved to New York where he practiced briefly. His first brush with the law occurred there when some corpses were found in his possession. He fled to Chicago where he worked for a drug company. The owner mysteriously disappeared and he became the owner. Over the next few years several people who crossed his path also mysteriously disappeared. In 1891 he began construction of a hotel at the corner of 63rd St. in Chicago. It was constructed by several builders over time and had a labyrinthine network of passages that would become his "torture chambers". It was during the Chicago World Fair of 1893 that he did most of his killings when his victims checked into his hotel. They were mainly young attractive women. Holmes would drug them, have sex with their bodies and then drop them down a chute into a gas chamber. There he would watch through a glass panel as they slowly choked to death. Then he would dissect their bodies and dispose of them in acid baths, furnaces or by using quicklime. However, it was because of insurance fraud in Texas that he was brought to the attention of the authorities again. Detective Geyer followed his trail through Pennsylvania, New Hampshire, and Massachusetts. The bodies of the Pietzel family were found in an Indianapolis boarding house and Holmes was arrested. On 11/30/1895 he received the death sentence. Holmes wrote in his memoirs that he had killed 27 people; however, when he was taken to the gallows he retracted his confession saying that he had done it just for a publicity stunt. Over 200 bodies were found in his Chicago death house, known as "'Holmes' Torture Castle".
- Stephen Crane was the 14th child of parents who were both writers. Descended from a line of soldiers and clergymen (his father, Rev. Jonathan T. Crane, was a Methodist minister), Crane inherited from his forebearers the obsessive subject of war, stoical compassion and, particularly in his poetry, a Biblical style. His short, phenomenal literary career, which began in 1891 when he quit Syracuse University as a freshman, yielded the novels "The Red Badge of Courage" (1895), "The Open Boat" (1898) and "The Blue Hotel" (1899), as well as two volumes of poetry. His novel "Maggie: A Girl of the Streets", reputed to have been written in two days in 1891, is often credited with starting the naturalistic tradition in American fiction. He worked as a reporter in New York and later as a foreign correspondent following the wars. During his brief residence in England he befriended Henry James, Joseph Conrad, H.G. Wells and F.M. Ford, who all recognized Crane's ruthless literary talent. His emergence as a fiction writer and poet was cut short when he died of tuberculosis at the tragically premature age of 28.
- Writer
- Additional Crew
- Soundtrack
A gifted poet, playwright and wit, Oscar Wilde was a phenomenon in 19th-century England. He was illustrious for preaching the importance of style in life and art, and of attacking Victorian narrow-mindedness.
Wilde was born in Dublin, Ireland, in 1854. He studied at Trinity College in Dublin before leaving the country to study at Oxford University in England when he was in his early 20s. His prodigious literary talent was recognized when he received the Newdegate Prize for his outstanding poem "Ravenna". After leaving college his first volume of poetry, "Patience", was published in 1881, followed by a play, "The Duchess of Padua", two years later. It was around this time that Wilde sparked a sensation.
On his arrival to America he stirred the nation with his flamboyant personality: wearing long silk stockings--an unusual mode of dress--long, flowing hair that gave the impression to many of an effeminate and a general air of wittiness, sophistication and eccentricity. He was an instant celebrity, but his works did not find recognition until the publication of "The Happy Prince and Other Tales" in 1888. His other noted work was his only novel, was "The Picture of Dorian Gray" (1890), which caused controversy as the book evidently attacked the hypocrisy of England. It was later used as incriminating evidence at Wilde's trial, on the basis of its obvious homosexual content.
Wilde was a married man with children, but his private life was as a homosexual. He had an affair with a young snobbish aristocrat named Lord Alfred Douglas. Douglas' father, the Marquess of Queensberry, did not approve of his son's relationship with the distinguished writer, and when he accused Wilde of sodomy, Wilde sued the Marquess in court. However, his case was dismissed when his homosexuality--which at the time was outlawed in England--was exposed. He was sentenced to two years hard labor in prison. On his release he was a penniless, dejected man and soon died in Paris. He was 46.
Wilde is immortalized through his works, and the stories he wrote for children, such as "The Happy Prince" and "The Selfish Giant", are still vibrant in the imagination of the public, especially "The Picture of Dorian Gray", the story of a young handsome man who sells his soul to a picture to have eternal youth and beauty, only to face the hideousness of his own portrait as it ages, which entails his evil nature and degradation. The book has been interpreted on stage, films and television.- Director
- Cinematographer
- Producer
Eadweard Muybridge was born in Kingston upon Thames, England, to John and Susanna Muggeridge. At the age of 20 he immigrated to the United States as a bookseller, first to New York City, then to San Francisco. In 1860, he planned a return trip to Europe, but suffered serious head injuries en route in a stagecoach crash in Texas. He spent the next few years recuperating in Kingston upon Thames, where he took up professional photography, learned the wet-plate collodion process, and secured at least two British patents for his inventions. He returned to San Francisco in 1867, a man with a markedly changed personality. In 1868, he exhibited large photographs of Yosemite Valley, and began selling popular stereographs of his work. His great breakthrough came in 1872 when he was hired by wealthy American businessman and former California governor Leland Stanford, who later founded Stanford University. Stanford was interested in whether horses lifted all legs off the ground at once during trotting, and Muybridge was engaged to take photographs to settle the point. Although the experiment proved inconclusive at the time, Muybridge was re-engaged for further photographic studies in 1878. Using a battery of 12 cameras set side by side and a specially marked fence along the racetrack to pinpoint the horse's precise movements, Muybridge effectively created the first true study of motion. By January 1880 he invented zoopraxiscope to project his famous chronophotographic pictures in motion and thus prove that these were authentic. The projector used glass disks onto which Muybridge had an unidentified artist paint the sequences as silhouettes. Later, his more-detailed images were hand-coloured and marketed commercially. A device he developed was later regarded as an early movie projector, and the process was an intermediate stage toward motion pictures or cinematography. From 1883 to 1886, he entered a very productive period at the University of Pennsylvania in Philadelphia, producing over 100,000 images of animals and humans in motion. In his later years, Muybridge gave many public lectures and demonstrations of his photography and early motion picture sequences, travelling frequently in England and Europe to publicise his work in cities such as London and Paris. He also edited and published compilations of his work (some of which are still in print today), which greatly influenced visual artists and the developing fields of scientific and industrial photography. He retired to his native England permanently in 1894. In 1904, the year of his death, the Kingston Museum opened in his hometown, and continues to house a substantial collection of his works in a dedicated gallery.- A fearsome Apache Indian warrior and medicine man of mythic stature, Geronimo was born about 1829 on the upper reaches of the Gila River (near the present-day mining town of Clifton, AZ). He belonged to the Be-don-ko-he band of the southern Chiricahua Apaches. He was known as Goyathlay or Goyaklay, meaning "one who yawns." It's not clear how he came to be called Geronimo, but conventional wisdom is that it was bestowed upon him by Mexicans during his many raids into that country.
Few specifics are known of his early life, but he emerged as a leader of the Chiricahuas in 1858 in the wake of personal tragedy. According to Geronimo, he had gone in the company of other Apaches and their families to trade peacefully with settlers around the Mexican military post at Janos in northern Chihuahua. While he and other adult males were away, a troop of Mexican soldiers from the neighboring state of Sonora swooped down on the family encampment and slaughtered most of the Apaches there, including Geronimo's mother, wife and three children. As a result, Geronimo swore revenge on Mexicans. Soon after the massacre at Janos, Geronimo received a spirit's voice that told him to fight the Mexicans. In the ensuing forays Geronimo was wounded many times but always recovered, and as late as 1897 he was still boasting to those who would listen that no bullet could kill him. Indeed, foes and followers alike thought that Geronimo was endowed with supernatural powers. Eyewitnesses declared him clairvoyant; according to them, he could interpret signs, explain the unknowable and predict the future.
In line with its uncertain and fluctuating policy, the US government tried to "civilize" the Apaches by shifting them from one reservation to another in Arizona and New Mexico. Although they would "settle down" for a spell on reservation land, sooner or later one or more bands would break out and go on the warpath, and the resulting plundering, burning and killing terrorized the civilian populace from Arizona down into Mexico. Geronimo himself often led these warring factions. Several times he was captured or forced to surrender and was returned to a reservation for a period of time (although other Apaches might be on the warpath), but he eventually would break out again. In May 1885 he fled the reservation with 35 men, 8 boys and 101 women. Ten months later he again surrendered to the American military in northern Sonora (a treaty between the US and Mexico allowed security forces from each nation to cross the border in pursuit of hostile Indians) only to bolt for freedom one more time. With 5,000 American soldiers and 500 Apache scouts and police in pursuit, Geronimo--with 16 warriors, 14 women and 6 children--surrendered to the US Army for the last time on September 3, 1886, at Skeleton Canyon in southern Arizona.
Thus ended an epoch called "The Apacheria", a period of almost constant warfare involving whites, Mexicans and Apaches that lasted for nearly two centuries. Geronimo was exiled to Florida but was promised that afterwards he and his followers would be allowed to return to Arizona--a promise that was not kept. They were placed under military confinement and later scattered among various reservations, with Geronimo and some of his people being sent to Oklahoma. He later became a farmer there and adopted Christianity. He dictated his autobiography, "Geronimo: His Own Story", published in 1906. In February 1909 the 85-year-old warrior fell off of his horse and remained in a ditch until the next day. He caught pneumonia and died a few days later. He was buried in the Indian cemetery at Fort Sill, OK. - Additional Crew
- Producer
Many people today know the names of George M. Cohan and Florenz Ziegfeld Jr., but Charles Frohman, though lesser known, reigned supreme in the theatrical world for over a generation. From a young age Frohman's heart and soul belonged in the theatre. His lower-middle-class family moved from Sandusky, Ohio, to New York City in 1874 and he landed a job as a night clerk for the New York Graphic. In 1876 the paper sent him to Philadelphia to expand its circulation during the Centennial Exposition, and it was there he first demonstrated his entrepreneurial talents by organizing newsboys to more efficiently exploit the market. He then moved over briefly to the New York Tribune and moonlighted by selling theatre tickets at night, soaking in everything he could learn about the theatrical business. In 1880, at the age of 20 with 50 cents to his name after paying for a seat for the hit play "Shenandoah", he successfully schmoozed its producers into selling him its road-show rights. From this point onward there was no stopping Charles Frohman in his desire to conquer the entertainment business, which at the time was headquartered in New York City with the Broadway theater district its nerve center.
He began by leasing an unprofitable house named Proctor's Theatre and gradually created a stock production company. In the early 1890s he built his own theatre, the Empire. He, younger brother Gustave Frohman and older brother Daniel Frohman became the leading theatre impresarios of the Gilded Age. By the turn of the century Charles Frohman was the #1 theatrical producer in the world. He solidified his position by creating a theatrical monopoly with a handful of Broadway and regional theatre owners, known as the Theatrical Syndicate, which would come to dominate virtually every aspect of theatrical production through its proprietary booking network. His syndicate controlled not only first-run and revival Broadway shows, but dozens of road-show companies that continuously traversed the US and Canada, in addition to a number of productions that almost always illuminated London and Paris.
Despite his titular status within his company, however, Frohman was always detail-oriented. He believed that a large degree of his success was due to his actors and paid an unusual amount of attention to their development (or non-development), billing, promotion, costumes, etc., down to the tiniest booking details. In brief, he was a hands-on producer and he held a seemingly hypnotic hold over his troupes (no less a legend than Ethel Barrymore idolized him). He also worked extensively in London and formed a separate stage company to fill his five leased theatres there. By the outbreak of World War I, he could claim to have produced over 700 plays and employed a staff that exceeded 1,000 on both sides of the Atlantic.
Back in the States he owned or leased six theatres on Broadway and some 200 across the country, and had dozens of road-show companies traversing the nation by rail at any given time. Oddly, he rarely attended opening nights at any of his theatres, preferring to keep tabs on audience reactions by employing dozens of runners who kept him informed at intermissions and final curtains. Few of his business associates knew him intimately; he was shy and steadfastly avoided socializing, preferring to remain ensconced inside his suite at the Knickerbocker Hotel whenever in New York City. By modern definition, Frohman would be considered moderately neurotic and perhaps mildly obsessive-compulsive. He was occasionally practically agoraphobic, had an intense fear of darkness and rigidly held to theatrical superstitions, all rolled into a shroud of secrecy surrounding his private life (accused of being a homosexual by his detractors, he was also rumored to be secretly married to Maude Adams, a stage actress who would be termed a "superstar" today). In business Frohman was considered cold and calculating, often ruthlessly crushing competitors to the extent that lesser producers only survived on Broadway because he let them. He suffered a debilitating fall while at his home in White Plains, New York, in 1912 and the resulting arthritis proved so painful that he required use of a cane. Back in the Knickerbocker Hotel, Frohman became a virtual invalid.
In 1915 he opted to make a European trip to check on the crop of productions in London with playwright Charles Klein and his valet. Unfortunately he chose passage on the Lusitania, then the fastest ship to London. His friends and associates were aghast at his decision and tried to dissuade him from making the voyage. The German Embassy had issued a proclamation declaring the Lusitania a military target; Frohman reacted by dictating his company's entire 1916 season in advance and dismissed their fears for his safety, telling his friend Al Hayman, "If you want to write to me, just address the letter care of the German Submarine U-4." By eyewitness accounts, Frohman remained characteristically calm after the torpedoing of the ship, dismissing offers of assistance and offering his life belt to a female passenger. Among his last reported words was a line from J.M. Barrie's "Peter Pan": "Why fear death? It is the most beautiful adventure in life."
Frohman's body was recovered and arrived in New York on May 24, 1915. He was given two funerals (John Barrymore was one of the pallbearers), with simultaneous memorial services across the US and in London. Maude Adams retired from acting upon his death. By the following year, Frohman's all-powerful theatrical syndicate would be broken by the Shubert Brothers.- Actress
- Writer
Oliva R. Duffy was born on October 20, 1894, in Charleroi, Pennsylvania, the eldest of three children, with two younger brothers. Olive or Ollie, as she was known to family and friends, did not have much of a childhood. Life in industrial Pittsburgh (at the time, spelled "Pittsburg") was depressing and grim with its smoky factories and hard living. She married Bernard Krug Thomas at the age of 16 (which wasn't uncommon at the time), but the marriage wasn't happy, and they divorced two years later.
By that time, Olive had left Pittsburgh for New York, where she found work in a department store. On a lark, she entered a competition for the most beautiful girl in New York City and, unsurprisingly, won. With the ensuing publicity, she caught the eye of Florenz Ziegfeld Jr. and immediately joined his famed Follies. An outstanding addition, men went wild over her beauty. She also posed nude for the famed Peruvian artist Alberto Vargas. As a result of her sudden fame, she was signed to a contract with Triangle Pictures. Her first film was Beatrice Fairfax (1916). Later that year, she married Jack Pickford, brother of screen star Mary Pickford.
The relationship was a stormy one. In 1917, she starred in four more films: Madcap Madge (1917), A Girl Like That (1917), Broadway Arizona (1917), and Indiscreet Corinne (1917). With five films on her resume, Olive was the toast of Hollywood. She made three films in 1918 and six in 1919. By 1920, Olive was at the top of the film world. She continued to make good pictures, most notably, Youthful Folly (1920) and also The Flapper (1920), which was an overwhelming success. After finishing Everybody's Sweetheart (1920), Olive and Jack sailed to France for a much-needed vacation.
The couple finally seemed happy, which seems odd in light of what was to follow. Olive accidentally ingested bichloride of mercury from a French-labeled bottle in a darkened bathroom, believing it to be another medication. Found unconscious, she died five days later. The death made worldwide headlines. Olive was only 25 when she died.- While watching a movie one snowy night in Washington, DC, journalist and author Chauncey Corey Brainerd and his wife Edith were killed when the flat roof of Crandall's Knickerbocker Theatre collapsed under the weight of over two feet of heavy snow. More than 200 other moviegoers and theater employees were killed or injured on that night during what became known as The Great Knickerbocker Storm of 1922. A former congressman, an aide to President Woodrow Wilson and a number of house musicians, including the conductor, perished in the disaster.
Brainerd and his wife, the former Edith Rathbone Jocobs, were married at her parents' home in Mt. Vernon, New York, on June 4, 1903. She was born in Washington, DC, around 1885 and later lived, at least for a while, in Westchester, NY, where her father worked as a postal inspector. Chauncey Brainerd was born in New York City, the son of Alanson and Adelia Corey Brainard. His father was a merchant who died before Brainerd's second birthday. His mother later worked as a housekeeper in order to support him and his older sister Adelia.
Chauncey and Edith, who were both writers, went on to collaborate on a number of stories together under the pen name E.J. Rath. Chauncey was a veteran of the Spanish-American War. At the time of his death he had been the Washington bureau chief for the Brooklyn Eagle for over ten years. - Actor
- Director
- Writer
Born in San Francisco's Castro District, Allen Holubar was the first of five children of Constantin Josef Holubar and Margaret Allen C. Holubar, who immigrated from Bohemia in 1875 and married Margaret, a Scots woman, in San Francisco (Allen was born at 44 Caselli Ave. in a house that still stands). Despite parental pressures to be a machinist, Allen worked his way up from sweeping floors to acting, starting at the Alcazar & Alhambra Theatres in San Francisco. He was evidently a prominent dramatic actor, known widely across the US from 1908-1912. However, in the words of a San Francisco newspaper at the time, "He forsook legitimate drama for the moving picture screen" in 1913. After starring in several landmark films, he began directing and was one of Carl Laemmle's first directors at Universal Pictures. Later, after having differences with Laemmle, he founded his own production company, Allen Holubar Pictures, in 1917.
As an up-and-coming producer, he was famous for being the first to coordinate a movie shoot (Hurricane's Gal (1922)) using radio. In the words of a local paper, "Mr. Holubar has successfully performed the unprecedented task of using the wireless waves to direct the movements of an airship, a destroyer and a schooner, maneuvering all of these within his camera's range as he supervised these activities from a hydroplane far above."
He died of postoperative complications from gallstone surgery at the height of his career in 1923. His wife, the former actress Dorothy Phillips, did not act again until the mid-'60s, when she played an old woman in Cat Ballou (1965), starring Lee Marvin and Jane Fonda.- James Byron Warner was the younger brother of H.B. Warner and the son of Charles Warner, a prominent English stage actor, whose own father James Warner, whom J.B. was named after, was also a famous actor.
Born in Nebraska in 1895, the handsome J.B. joined the Warner family profession, though--unlike his older brother--he never appeared on the Broadway stage. He made his debut as "Jim Warner" in Knickerbocker Star Features' Crooked Road (1916) before appearing as "James Warner" in 1917 in two pictures for Falcon Features, The Secret of Black Mountain (1917) and The Lady in the Library (1917). Moving west to California, he signed with Universal Pictures in 1920 and began appearing in such horse operas as The Tough Tenderfoot (1920), billed now as "James B. Warner." In his third film at Universal, Blazing the Way (1920), he had top billing. It was his last headliner at Univeral.
After a couple of pictures for independent outfits, Warner appeared as a supporting player to western superstar Tom Mix in For Big Stakes (1922) at Fox. For Metro Pictures he headlined the western Big Stakes (1922), directed and produced by Clifford S. Elfelt. Beginning with his second film at Metro, Flaming Hearts (1922), he was billed as "J.B. Warner", a name likely to evoke his more famous brother, who was a top player in the movies and on the Broadway stage.
At Metro J.B. headlined six westerns, all of them produced by Elfelt. He then moved on to Sunset Productions, where he starred in eight low-budget westerns produced by Anthony J. Xydias, most of which were released in 1924.
Warner's career remains a "What if", as the handsome young actor never did mature into one of the "wax works" of the silent era his brother H.B. played in Billy Wilder's 1950 Hollywood classic, Sunset Blvd. (1950). Not yet 30, J.B. died on November 9, 1924, in Los Angeles, California, from tuberculosis. - H.H. Asquith, considered the founder of the British welfare state, was the prime minister of the United Kingdom who led the British Empire into the monumental debacle that was World War I.
The son of a cloth merchant, Henry Herbert Asquith was born in Morley, Leeds, West Yorkshire, England and attended Balliol College, Oxford, Oxfordshire, England. After graduation he became a barrister and was called to the bar in 1876. He married Helen Kelsall Melland, the daughter of a Manchester physician, in 1877. By the early 1880s he had become financially well-off from his law practice, enough so to consider politics (members of Parliament were not paid a real salary until the 1970s). He was first elected to Parliament in 1886, standing as the Liberal candidate for East Fife, Scotland.
His first wife gave him four sons and one daughter before dying from typhoid in 1891. He remarried in 1894, taking Margot Tennant, the daughter of Sir Charles Tennant, 1st Baronet, as his second wife. She bore several children, but only a son and daughter survived into adulthood. Asquith was called Herbert by his family, but his second wife called him Henry, and those who called him by his Christian name made the switch. However, in public he was addressed only as H.H. Asquith.
In 1892 he became Home Secretary during William Gladstone's last government (as Home Secretary Asquith signed the arrest order for Oscar Wilde, who was eventually incarcerated for lewd behavior). Three years after the Liberals went out of power in 1895, he was offered the party leadership but turned it down. After the Liberals' landslide victory in the 1906 general election, he became Chancellor of the Exchequer under Campbell Bannerman, a post in which he proved a stalwart proponent of free trade. Bannerman resigned the premiership due to illness in April 1908 and Asquith succeeded him, becoming the first member of the professional middle class to serve as Prime Minister.
His first government launched a guns-and-butter legislative programme, building up the British Navy in an arms race with Germany while introducing social welfare programmes. Asquith can be considered the father of the British welfare state, as his government introduced government pensions in 1908. The programme was fiercely resisted by the Tories, which provoked a constitutional crisis in 1909 when the Conservative majority in the House of Lords rejected the government's "People's Budget." Traditionally finance was the province of the House of Commons, and the resulting constitutional crisis forced a general election in January 1910. Though the Liberals were returned to government with a majority, their numbers in the Commons were much reduced, and the crisis continued.
King Edward VII consented to filling the House of Lords with freshly-minted Liberal peers, who would override the Lords' veto, if Asquith agreed to hold another general election, after which he would act if the impasse continued. However, Edward VII died in May 1910, before the second general election. Asquith had to use his considerable powers of persuasion to get Edward's successor, King George V, to agree to the plan. The new king was hesitant, as packing the Lords would undermine the power of the hereditary aristocracy. Before the December 1910 general election (the last held for eight years), Asquith's persuasion paid off, and George V agreed to pack the House of Lords. The Liberals won their second election of 1910, though the balance of power in the government rested with peers from Ireland, who demanded a Home Rule bill as the price of support for Asquith's third government.
The Parliament Act of 1911 circumscribed the legislative power of the House of Lords, as the upper chamber of Parliament was limited to delaying, but not defeating outright, any bill passed by the House of Commons. Asquith paid off the Irish block with the Third Irish Home Rule Bill, which achieved Royal Assent in late 1914, though implementation of the law was suspended for the duration of World War I, which the UK had become involved in due to a spider web of treaties. The Irish question remained a tinderbox, and while civil war in Ireland over the fate of Ulster was averted in 1914 by the outbreak of the war in Europe, simmering tensions would lead to the Easter Rebellion of 1916, which would prove to be one of the factors that contributed to Asquith's loss of power. The other was the war.
In May 1915 the Cabinet split over a scandal involving the dearth of munitions available at the front. Asquith ultimately was held responsible for the shortcomings in British war production. The "Shell Crisis" underscored the need for the British economy to be put on a wartime footing. Responding to the discord, Asquith formed a new government, creating a national coalition that included members of the Opposition (though an election should have been held in 1915, elections were suspended for the duration of the war). David Lloyd George, the most dynamic of the Liberal ministers from the old cabinet, was made minister of munitions.
The new coalition government did nothing to bolster Asquith's premiership. Both Liberals and Tories criticized his performance over the conduct of the war and assigned him some of the blame for the failed offensives at the Somme (in which Asquith's eldest son Raymond died) and Gallipoli (which led to the resignation of Winston Churchill, then a Liberal MP, as First Sea Lord). He was also blamed for his handling of the armed Easter Rebellion of Irish Catholics in Dublin in April 1916 and the resulting civil war. The Machiavellian Lloyd George undermined Asquith by splitting the Liberal Party into pro- and anti-Asquith factions. The result was that Asquith resigned as prime minister on December 5, 1916, and was succeeded by Lloyd George.
After resigning, Asquith continued in his post as Liberal Party leader, even after losing his seat in the 1918 elections. He returned to the House of Commons in a 1920 by-election and played a key role in helping the Labour Party form a minority in 1924, which gave Ramsay MacDonald his first--though short-lived--premiership.
The minority Labour government fell in 1924, and in the subsequent election won by the Tories, Asquith lost his seat in the Commons. He was raised to the hereditary peerage as Viscount Asquith, of Morley in the West Riding of the County of York, and Earl of Oxford and Asquith in 1925. Asquith moved over to the House of Lords and finally resigned the Liberal Party leadership in 1926. He died in 1928.
Violet Bonham Carter (maiden name Violet Asquith), Asquith's only daughter by his first wife, was a successful writer who was made a Life Peeress in her own right (she is the grandmother of Oscar-nominated actress Helena Bonham Carter). His son Cyril became a Law Lord, and two other sons married well, one being the poet Herbert Asquith. His two children by Margot were Elizabeth (later Princess Antoine Bibesco), a writer, and Anthony Asquith, a well-regarded film director. - Director
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Slapstick comedian known for his charming, white-painted face and clownish smile, mugged his way to being a very highly paid and popular actor. His career was marred by personal problems, and his fortune was lost to high spending. By the time he died, he'd already been hospitalized for a nervous breakdown and was penniless. He was 39 years old.- The son of a sea captain, Theodore Roberts was a veteran stage actor, making his first appearance in 1880. Often referred to as the "Grand Duke of Hollywood," Roberts was a regular on the Cecil B. DeMille team and appeared in 23 of DeMille's films. He is best remembered for his role as Moses in DeMille's The Ten Commandments (1923). A well-known and well-loved actor, his funeral in Westlake Park (he died from uremic poisoning) was attended by nearly 2,000 people. However, Roberts felt so much bitterness in his heart for his immediate relatives that he bequeathed his estate to a nephew (a commercial illustrator) in New York. The estate was valued at nearly $20,000, including a yacht valued at $10,000. Several of Roberts' personal items were left to his friends William C. de Mille and his brother Cecil. Roberts claimed that during the worst times of his life, no one in his family offered a word of sympathy or any help at all. His only request was that he be laid to rest next to his beloved wife Florence Smythe, who passed away in 1925.
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Segundo de Chomón became involved in film through his wife, who was an actress in Pathé films. In 1902 he became a concessionary for Pathé in Barcelona, distributing its product in Spanish-speaking countries and managing a factory for the coloring of Pathé films. He began shooting footage of Spanish locations for the company, then in 1905 moved to Paris where he became a trick film specialist. The body of work he created over five years was outstanding. Films such as The Red Spectre (1907), Kiri-Kis (1907), The Invisible Thief (1909) and A Panicky Picnic (1909) are among the most imaginative and technically accomplished of their age.
De Chomón created fantastical narratives embellished with ingenious effects, gorgeous color, innovative hand-drawn and puppet animation, tricks of the eye that surprise and delight, and startling turns of surreal imagination. It is curious why he is not generally known as one of the early cinema masters, except among the cognoscenti in the field. Perhaps it is because there is a smaller body of work than that created by Georges Méliès (his works can perhaps be described as a cross between that of Méliès and another who combined trickery with animation, Émile Cohl); perhaps it's because he was a Spaniard working in France for the key part of his film career that has meant that neither side has championed him as much as they might have done. De Chomón carried on as a filmmaker, specializing in trick effects, working for Pathé, Itala and others, and contributing effects work to two of the most notable films of the silent era, Giovanni Pastrone's Cabiria (1914) and Abel Gance's Napoleon (1927).- Elias Bernard Koopman was founder of the Magic Introduction Company (1889) and one of the founders of the KMCD syndicate, which in 1895 became the American Mutoscope & Biograph Co. Koopman had marketing rather than film production experience; his business, the Magic Introduction Company, marketed magical toys and optical novelties, which included the pocket watch camera invented by Herman Casler and William K.L. Dickson, and the Pocket Lighter.
After establishing the American operation of the American Mutoscope & Biograph during 1895 and 1896, Koopman traveled to England in 1897. The next invention (The Biograph Projector) called the American Biograph opened at the Palace Theatre in in March, and had its run until 1902. Howewver, the agreement that Koopman negotiated with the Palace was unsatisfactory, and even though he became Managing Director of the British Mutoscope and Biograph Company, he was soon overshadowed by personality conflicts and the greater financial skill of the Chairman, W.T. Smedley. A combination of bad results and an accusation that he was not spending enough time running the company forced his resignation in June 1903. Koopman continued as a merchant in London until 1927. He then returned to the US and later headed the Runsyne Corp., a maker of electrical signs.
In 1929 while staying at the Cumberland Hotel he attempted suicide by stabbing himself in the abdomen. He was taken to the hospital while still alive, but he died a few hours later. He left a note for his brother, Harry Koopman, stating his intention to end his life. In the note he asked that his family not mourn for him, and asked that his body be donated to science. He was 69 years old. - Actor
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A noted stage actor at the turn of the 20th century, Robert Edeson began his film career working with Cecil B. DeMille on The Call of the North (1914), then moved on to Vitagraph where he remained for the rest of the teens. In the 1920s he returned to work for De Mille, playing the man-of-the-world type roles. Married to actress Mary Newcomb, Edeson died of heart failure.- Actor
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American leading man and character actor of the silent period. Born in Crystal City, Missouri(though a number of popular reference works list Switzerland and Kokomo, Indiana). He is listed in the 1880 census as living in Kokomo at the age of two years. This means his date of birth must have been 1878. His father, Paul Santschi was born in Sigriswill, Switzerland and came to the U.S. as a child. Tom Santschi promoted the myth that he was born in Switzerland since it seemed much more exciting than being born in Crystal City or Kokomo. After performing as an amateur actor, he made his professional stage debut at age 19, and worked for the next decade in the theatre. He landed a small role in a film produced by Selig Polyscope, and over the next few years rose from bit player to leading man. He directed and wrote a few of his films. Following the First World War, he became more frequently seen in supporting roles, often as villains. He worked consistently until his death in 1931.- Director
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A former juvenile stage actor, Canadian-born William James Craft came to Hollywood in the early 1900s as an actor, eventually giving up acting to work as a cameraman, then became a director. He served as a photographer during World War I, and after the war he concentrated on directing, working often for Universal Pictures.
He died in an auto accident in Hollywood in 1931.- Novelist and dramatist Hall Caine, though largely forgotten now, was a hugely popular writer in the late Victorian and Edwardian eras. Born Thomas Henry Hall Caine on May 14, 1853, in Runcorn, Cheshire, England, his father was a Manx Man who moved to Liverpool, where he apprenticed as a ship's smith. After Hall's birth (he hated the name Thomas and never used it, even after he was knighted), the family moved back to Liverpool, where young Hall grew up. Hall Caine frequently took many trips to visit the Caine family on the Isle of Man.
He was apprenticed to an architect and surveyor and plied his trade as a surveyor while self-educating himself through wide reading. He became a lecturer and theatrical critic, which introduced him to some influential people such as actor Sir Henry Irving and author Bram Stoker, who dedicated Dracula (1931) to him. He became the secretary, factotum and nurse to Dante Gabriel Rossetti in the last years of the great poet's life.
Aside from a memoir of Rossetti that sold well, Caine's early endeavors in serious literature met with little success. However, when he abandoned literary criticism for romantic fiction (in the Walter Scott vein), he became popular. "Shadow of a Crime", an 1885 novel featuring a love triangle, was a best-seller. In 1887 he published a critical book about Samuel Taylor Coleridge that failed, but his return to fiction that same year with The Deemster (1917), a romance set in the Isle of Man, was a hit (a deemster is a judge on the Isle of Man).
In all, he published 15 romantic novels over 40 years. Many had themes influenced by his Christian socialist political sympathies. His popularity was immense, and his 1897 novel "The Christian" (later made into a film, The Christian (1915)) was the first novel to sell over a million copies in the United Kingdom. In August 1902, when King Edward VII and Queen Alexandra visited the Isle of Man, Caine was invited on board the royal yacht as the royal couple toured the island (the queen was a fan). He was a major celebrity in his own right, as well as a celebrated author.
During World War One he wrote propaganda articles urging the United States to join the fight against Germany and her allies. He declined a baronetcy in 1917 but accepted a knighthood, insisting he be styled Sir Caine Hall. After the Great War his popularity began to decline, as his style was considered old-fashioned. His return to fiction in 1921 with "The Master of Man: The Story of a Sin", another romance set in the Isle of Man, did not reach the level of popular success he was accustomed to and was poorly received by critics. He was derided as Victorian.
Many of his novels were made into movies during the silent era. "The Manxman" was turned into The Manxman (1929), directed by Alfred Hitchcock. The last film made from a Hall Caine property was The Bondman (1929), also released in 1929. Such was the decline of his reputation and popularity that no sound film has ever been made from his works.
Caine is little remembered today, as his novels are considered badly written; the characterizations are fuzzy and one plot is much like the other. In 1931 G.K. Chesterton wrote his literary epitaph: "Bad story writing is not a crime. Mr. Hall Caine walks the streets openly, and cannot be put in prison for an anticlimax."
He died on August 31, 1931, at the age of 78, the same year that Chesterton dismissed him as a bad writer. He was the father of Sir Derwent Hall Caine, 1st Baronet (1891-1971), actor, publisher and Labour politician. - Producer
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Morris R. Schlank, the eponymous boss of Morris R. Schlank Productions, is vaguely remembered as a Poverty Row producer who continued to turn out silent films into the 1930s for his main market of third-run rural movie theaters. In the pantheon of movie producers, Schlank was to Irving Thalberg what Pauly Shore is to Charles Chaplin among comedians.
Schlank was born on 1879 in Omaha, Nebraska. By 1914 he had established himself in Hollywood with a costume rental business. In 1919 he produced his first motion picture, the comedy short The Janitor (1919) starring Hank Mann, who had played one of the Keystone Kops. Schlank produced a plethora of comedy shorts with Mann, at least one of which was directed by Charley Chase, a talented second-tier silent comedian himself who at the end of his career directed shorts starring The Three Stooges (if the entertaining Chase was second-rate, Mann's rating as a cinema stooge likely was junk status). The other King of Comedy at Schlank's studio was Bobby Ray, another "star" whose light has been snuffed out by the sifting sands of time, albeit a star that never burned very brightly in the first place.
Schlank's first feature film was Storm Girl (1922), which was directed by Francis Ford (John Ford's brother), who also starred in the picture. Once a major filmmaker and star, Ford was on the downside of his career, a situation that typified Morris R. Schlank Productions employees, such as director/writer/producer/actor Ben F. Wilson, who ended his prolific career at Schlank's studio. Other than his featuring of "Never-Will-Be's", the hallmark of Schlank productions was the use of "Has-Been's"--actors and filmmakers in the twilight of their careers.
Dangerous Trails (1923) likely was the highlight of the output of Schlank's studio; the western starred character actor Noah Beery and Irene Rich, a frequent co-star of Will Rogers in the early 1920s. The studio cranked out low-budget westerns starring Al Hoxie, the brother of the more famous (and equally forgotten) cowboy star Jack Hoxie.
A Morris R. Schlank production was made very quickly on an extremely low budget. A Schlank picture was silent up through 1930. After taking a year off, Schlank returned to the screen in 1932 with Shop Angel (1932), his first sound movie. There would be two more Schlank sound productions released in 1932: Drifting Souls (1932) and Exposure (1932).
Morris R. Schlank died of a heart attack on June 29, 1932, while vacationing at Murietta Hot Springs, CA. He was 52 years old.- Josephine Crowell was a Canadian-born character actress. She appeared in vaudeville as early as 1879. On screen, she is best remembered for her dramatic portrayal of the mother in D.W. Griffith's The Birth of a Nation (1915), her comedic performances in Harold Lloyd's Speedy (1928) and Stan Laurel and Oliver Hardy's Wrong Again (1929). She also played a succession of queens and princesses in such films as Main Street (1923), Mantrap (1926), The King of Kings (1927) and The Man Who Laughs (1928).
- Sir Gilbert Parker--the popular Canadian novelist, short-story writer and poet who rose from backwoods obscurity to the seats of the mighty in the British Empire--was born on November 23, 1862, in Camden East, Addington, Ontario, to Royal Army Capt. J. Parker and his wife. After attending school in Ottawa and matriculating at Toronto's Trinity University, Parker moved to Australia in 1886, serving as an associate editor on the Sydney Morning Herald newspaper. His travels took him throughout the Pacific. Subsequently, after his return to Canada, he extensively journeyed through northern Canada
Parker was a contemporary of the poet and short story writer Sir Charles G.D. Roberts, the first writer to express the new nationalism that resulted from the confederation of Britain's North American provinces into Canada in 1867. Roberts' work inspired a nationalist school of Canadian poets in the late 19th century.
Parker's works typically dealt with Canadian history, and later with England and the British Empire. Moving to England in 1889, he made his literary reputation with romantic novels and short stories "aboot" Canada, and with historical novels such as his 1896 depiction of the court of King Louis XV, "The Seats of the Mighty" (made into a film in 1914, The Seats of the Mighty (1914), starring Lionel Barrymore)). His finest works deal with French-Canadian life and history, such as "Pierre and His People" (1892) (dramatized on Broadway by Edgar Selwyn, and filmed in 1914 as Pierre of the Plains (1914), remade in 1942 as Pierre of the Plains (1942))). Though he wrote of England and the Empire, starting in 1898 with "The Battle of the Strong," it is for his Canadian stories that he is still remembered into the 21st century, due to their high quality, fine descriptions and gripping drama. The short story collection published in 1900, "The Lane that had no Turning," contains some of his finest work, including the title story.
In 1895 Parker married a wealthy American heiress of New York's Van Tine family. His politics were strongly imperial, and in 1900 he was elected to Parliament as a Conservative member for Gravesend on the Unionist ticket. Parker was knighted in 1902, and although he still kept writing, most of his energies became absorbed by politics. A champion of Imperial Preference Trade and Tariff Reform, his power in the House of Commons began to wax, and by 1910 he was a figure to be reckoned with. He was, according to political observers, one of the most powerful Unionist politicians not serving in the government. He would serve a total of 18 years in Parliament, being re-elected in 1906 and again in 1910.
The quality of his literary output suffered from devoting so much energy to politics, but he was influential by investing the Imperialist movement with a great deal of enthusiasm. Parker cracked the top 10 best sellers list in the U.S. after becoming an M.P., with "The Weavers", which ranked #2 in 1907 and #10 in 1908, and "The Judgement House," which made it to #7 in 1913. His contemporaries on the list included Winston Churchill (the American writer, not the English politician-writer who became Prime Minister in 1940), Edna Ferber and Booth Tarkington.
Sir Gilbert Parker died in his native Canada, of a heart attack, on September 6, 1932, in London, Ontario. - Writer
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Barry Conners (1882-1933)--actor, playwright, attorney and screenwriter--was born and raised in Oil City, PA, the son of a country doctor. Although he later graduated from law school, he never established a practice. Instead, he joined the theater as an actor with an eye to learning stagecraft well enough to become a playwright. For a time he was a song-and-dance man in vaudeville and he toured the country as an actor in various repertory groups. Sometime early in the century, he joined the so-called White Rats Movement ("Star" spelled backwards). The organization, which Ethel Barrymore's father Maurice Barrymore helped to form, aimed to improve conditions for actors who had fallen into the grip of a few monopolistic theatrical producers (primarily Charles Frohman's theatrical syndicate) who were controlling the business. The organization, a predecessor of the Actors Guild, was destroyed around World War I and Conners was blacklisted from work as an actor in the theater. He took a job as a hunting and fishing guide in the Lake Tahoe, Nevada, area and began writing plays. Subsequently several of his plays were produced in New York City in the 1920s, beginning with the off-Broadway production of "Mad Honeymoon." Among his other successful plays was "Hell's Bells," which in 1925 provided the Broadway debut of actress Shirley Booth and actor Humphrey Bogart. His other Broadway plays included "Applesauce," and "Unexpected Husbands." Following the success of "The Patsy," which starred William Randolph Hearst's mistress, Marion Davies. Seeing his chance to capitalize on his voice, Conners left Broadway for Hollywood as talkies swept the film industry at the end of the decade. He worked as a screenwriter for Fox Films for several years.
Conners died in a fire in his Los Angeles apartment building on Jan. 5, 1933. He was just 50 years old.- Additional Crew
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Lewis J. Selznick, one of the pioneers of studio film production and the father of Oscar-winning Gone with the Wind (1939) producer David O. Selznick, was born Lewis Zeleznik in Kiev, Ukraine, Russian Empire, into a poor Jewish family with 18 children. Selznick migrated to London at the age of 12, and then to the US, eventually winding up as a small-time jeweler in Pittsburgh, Pennsylvania.
Fate intervened in Selznick's life in the guise of John P. Harris, who opened up the first dedicated cinema in Pittsburgh in 1905 (Pennsylvania officials claim that Harris' nickelodeon was the country's first, but there were dedicated theaters in the US for at least three years before Harris' theater--a dedicated cinema had opened in Los Angeles in 1902). Harris called his new theater, which he opened with a 20-minute, one-reel film from Lumiere, a "nickel-odeon," even though his admission price was ten cents ("odeon" is the Greek word for "theater," and "melodeon" had been a name given to music halls), which raises doubts over his claim to have invented the word, as well as the concept. Before the nickelodeon, movies had been shown in makeshift auditoriums and between variety acts in vaudeville houses as "chasers"--they were shown in order to chase lingering patrons out of the theaters to make room for paying customers for the next show. Two merchants with shops near Harris' nickelodeon became intrigued with the potential of the new industry--Harry Warner and Selznick. Both would go on to be the founders of major studios.
"Time" magazine, in a story about his son David in its July 1, 1935 issue, claimed that Lewis became a producer by walking into the headquarters of Universal Film Manufacturing in 1917, commandeering an abandoned desk and putting a sign labeled "General Manager" over it. The truth may be more mundane, but it is nonetheless fascinating and elucidates the evolution of the motion picture industry.
Selznick became general manager of the East Coast Universal Film Exchange, and eventually started Equitable Pictures with financial backing from Chicago mail-order magnate Arthur Spiegel and a Wall Street investment firm. In a familiar pattern of that time, Selznick created Equitable with the aim of raiding Vitagraph for Clara Kimball Young, a huge draw at the box office. Selznick was one of the investors behind World Pictures, headquartered in Ft. Lee, NJ, the first American movie capital. World had been created in 1914 to import foreign-made features and to distribute the movies of several newly established feature-film companies, including Selznick's Equitable Pictures. Selznick then merged his company with Shubert Pictures, which was the movie production arm of Shubert Theatrical Co., and Peerless Pictures, the movie production company created by motion picture raw film stock magnate Jules Brulatour.
World Pictures, now under the effective control of Selznick, released movies produced by Equitable, Peerless and Shubert Pictures, as well as those produced by independent companies, including the California Motion Picture Corp. of San Francisco. Movie production was centered at the Peerless Studio in Fort Lee, which had been built by Brulatour in 1914, and at the Paragon Studio, which was built in 1916. Gradually World Pictures began to dominate the companies whose movies it distributed. World Film Corp. was incorporated in February 1915, with Arthur Spiegel as president and Selznick as vice president and general manager.
"Photoplay" Magazine reported in 1915 that World Film was a large feature film company, both producing and distributing movies through its own exchanges. Its market capitalization totaled $2 million in stock--with a per-share value of $5.00--of which approximately $1.5 million was outstanding. For the fiscal year ending June 27, 1915, World Film reported a net profit of $329,000, equivalent to return of a little over 20% on the outstanding stock. At the time of the Photoplay article World Film had yet to pay a dividend, and its stock was active on the New York Curb Market at prices both above and below its par value.
World Film's market staples were traditional romances, comedies and dramas, starring the likes of Lillian Russell, Alice Brady, Marie Dressler and Lew Fields. Maurice Tourneur, who came over from Éclair America, proved to be World's top filmmaker. Other World Film employees who went on to greater careers included Josef von Sternberg, who worked as a film cutter, and Frances Marion, the future Oscar-winning screenwriter. Famed Broadway caricaturist Al Hirschfeld was appointed head of the art department by Selznick when he was still in his teens.
Lewis Selznick was ousted as general manager of World Film in 1916. Three years later he left World, taking Clara Kimball Young with him, and formed his own production company, the Clara Kimball Young Film Corp. The company leased studios from the Solax Co., which had been founded in Fort Lee by 'Alice Guy Blache' and her husband, Herbert Blaché (Alice Blanche was not only one of the first women movie executives but one of the first women directors as well). Selznick's company also released movies produced by the Schenck brothers, Joseph M. Schenck and Nicholas Schenck, who were partners with theater-owner Marcus Loew in his chain of movie houses, as well as in the Palisades Amusement Park in the Fort Lee/Cliffside Park area.
The early days of the film studios saw a constant spate of mergers and acquisitions as the industry underwent consolidation, and individual moguls jockeyed for position. Samuel Goldfish was ousted from two companies he co-founded in the 1910s, Famous Players-Lasky and Goldwyn Pictures (from which he took his name, being forever known as independent producer Samuel Goldwyn). Selznick merged with Adolph Zukor's Famous Players Pictures in 1917, creating Select Pictures, later reorganized as Selznick Film Co. Selzlnick eventually bought out Zukor and merged his two companies into Selznick-Select, then acquired World Pictures' film exchanges, which he renamed Republic Distributing Corp. He shifted his operation to California, completing the move in 1920, where he again linked up with Zukor and Jesse L. Lasky's Paramount-Artcraft, the successor to Famous Players-Lasky.
Colorful and flamboyant, a quote of Selznick's became one of the most famous aphorisms about the motion picture industry: "There's no business in the world in which a man needs so little brains as in the movies." He also showed a wicked sense of humor. As a Jew growing up in Czarist Russia, a land famous for its anti-Semitic pogroms, Selznick suffered persecution before he emigrated to England. When Tsar Nicholas II was overthrown in the Bolshevik Revolution of November 1917, Selznick sent a cable to him: "When I was a poor boy in Kiev some of your policemen were not kind to me and my people stop I came to America and prospered stop Now hear with regret you are out of a job over there stop Feel no ill will what your policemen did so if you will come New York can give you fine position acting in pictures stop Salary no object stop Reply my expense stop Regards you and family".
Unlike most of the other moguls, Lewis J. Selznick didn't take the movie business too seriously. The other magnates were outraged by his cavalier attitude toward the industry and the moguls themselves. Among the immigrant businessmen who created Hollywood and the American motion picture industry, it was the cultured and introspective ones who failed. Selznick had a self-deprecating cynicism that eventually diluted his ambition. It was said in the early 1920s that Selznick would rather stay at home surrounded by his ojects d'art. Apparently, he eschewed schmoozing with other industry insiders at their favorite haunts, the track, the polo grounds, the skeet range, and the speakeasies. Lacking their tastes and world view, Selznick wound up distrusted by the other movie magnates.
When Lewis J. Selznick Production, Inc., became financially troubled during the production glut of 1923 that roiled the industry, he had no one to turn to. His company went bankrupt in 1923 due to overexpansion, done in by the machinations of a vengeful Zukor. He never produced another movie, or as he'd prefer it, his days as a "presenter" were through (Lewis J. Selznick Productions' pictures were opened with a title card that read: "Selznick Presents." The slogan "Selznick Pictures Make Happy Hours" was, by the end of the second decade of the new 20th century, the best-known slogan in the entertainment industry).
His son David learned the ropes as a young man at Lewis J. Selznick Productions. As an independent producer, David later surpassed Lewis J., winning back-to-back Oscars for "Gone with the Wind" and Rebecca (1940). After his father went bankrupt, David quit Columbia and moved to California to get back into the industry without any help from his father. getting a proofreader's job at MGM. Famous for his facility with words and his writing ability, David quickly worked his way up to story editor, then became an assistant producer in producer Harry Rapf's unit. He began a secret romance with Irene Mayer, daughter of MGM boss Louis B. Mayer, and he eventually decided to quit and take a lower-paying job with better prospects at Paramount.
When he became betrothed to Irene L.B. was skeptical due to Selznick's being a "traitor" by leaving MGM. Actually, he respected David for striking out on his own and avoiding charges of nepotism. Mayer's real objection, it seemed, was rooted in his hatred of David's dad, a renegade who had tried to horn in on the original Ben-Hur: A Tale of the Christ (1925), claiming he had rights to the stage play. David apologized for his father, admitting it wasn't right for Lewis to have pulled such a con, and the two healed their rift, with David eventually working for his father-in-law after the death of Mayer's right-hand man Irving Thalberg (the news of the elevation of David to supervising producer at MGM was the source of the famous newspaper headline, "The Son-in-Law Also Rises.")
Lewis J. Selznick died on January 25, 1933, in Los Angeles, California. World Film and Lewis J. Selznick Productions Inc. no longer exist, and many of the films he produced are lost or forgotten, so his son David's output of great motion pictures remains Lewis J.'s Hollywood legacy. For it was at World Film Corp. that the banner "Quality Not Quantity" had first been unfurled.- Producer
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David Horsley was born on March 11, 1873, in a small coal mine village called West Stanley, County of Durham, England. This village was owned and operated by the West Stanley Coal Co., which operated three coal mines with an average output of 1,500 tons of coal per day. The miners' houses comprising the village were all owned by the coal company. David's paternal grandfather William Horsley was general manager of the company while his father, Robert, was a master mechanic and chief blacksmith for the mines, which used ponies to bring the coal to the surface. His maternal grandfather, John Chaytor, was the company's saddler and harness maker. On January 18, 1884, while on an errand for his mother, young David was struck down by a coal train locomotive as he crossed the tracks and lost three fingers, severed by the train wheels. Ultimately, his arm was amputated two inches below the elbow so as to forestall the onset of gangrene.
His mother, realizing that there was no future in the town for her disabled son, decided the family should emigrate to America. On October 17, 1884, the Horsley family arrived in New York and moved to New Jersey, eventually settling in Bayonne. The young Horsely helped support the family by selling newspapers, later working as a Western Union messenger boy. When he was approximately 16 years old, J.T.R. Proctor, the owner of the Bayonne Times, became his benefactor, paying for David to attend night school, where he studied bookkeeping and shorthand. His education enabled him to be hired by the Tidewater Oil Works as a timekeeper.
When he was 19 Horsley opened up a bicycle shop, hand-making bicycles despite his handicap. In 1903 he bought a piece of land and built a pool hall in Bayonne. Unfortunately, his business was wiped out by the Panic (or recession) of 1907. He and one of his regular customers, Charles Gorman, decided to try their hand in the movie business. Gorman had been a scenic artist at the Biograph Motion Picture Co. in New York, but had lost his job during the recession. Gorman had the know-how about the movie industry, and Horsely had the land for a primitive studio and possessed the mechanical skills to build a movie camera from the parts of an old projector. The rear yard of the pool hall was covered with a wooden platform and muslin was hung overhead to diffuse the light. They decided to call their enterprise the Centaur Film Co., as it was a name that was half "horse" (from Horsely) and half "man" (from Gorman).
The Centaur Film Co. struggled during the first three years of its existence, subsisting on money borrowed from relatives. It faced a monumental crisis at the end of its first year of operation when the Patents Company was created in 1908 to pool motion picture equipment patents, including the Lanham loop that was necessary for film to be fed correctly into a movie camera. The Patents Co. refused to give Centaur a license to operate; it considered Centaur a fly-by-night operation and turned down Horsley's application for a license three times, figuring that denying the company a license would drive it out of business. The Patents Co., which became known as "The Trust," intended to completely control the manufacture, distribution and exhibition of films.
The Trust created the General Film Co. to deal with film exchanges and to rent films to the exhibitors. General collected a weekly licensing fee of $2 on every projector in the US for the use of the Lanham loop, a situation that was deeply resented by exhibitors. Exhibitors who refused to pay the $2 license fee were denied films, and thus were deprived of their livelihood. General Film opened its own film exchanges to rent films, and it cut off the supply of films to other film exchanges. Eastman Kodak Co. refused to sell Horsely raw film stock to make his one-reel pictures, as its contract with the Patents Co. and General Film had them boycott non-Trust filmmakers. Horsley thus had to import his raw film stock from the Austin Edwards Co. in England.
When film exchange executives converged on New York to challenge the monopoly implemented by the Trust, they were directed to meet David Horsley, whose Centaur Film was holding up under the challenge. In order to improve his ability to compete successfully against the Patents Co. and General Film, Horsely decided to help the film exchange people become producers of movies, as he knew he wouldn't be able to survive for long against The Trust without some help.
Carl Laemmle and R.H. Cochrane formed the Independent Motion Picture Co. and opened a studio in New York producing one-reel movies called IMPS, while Edwin S. Porter started up Rex Pictures and Edwin Thanhouser opened a studio at New Rochelle, New York, while Pat Powers created Powers Pictures. Other companies formed by film exchange personnel to ensure that they received product were Bison, Champion and Reliance. By 1910 there were as many independent film companies making pictures as there were companies that were part of The Trust. It was difficult for indies to obtain cameras and film, as domestically-made cameras and film stock were covered by the Patent Co.'s patents and thus would not be sold to filmmakers outside The Trust. Producers were forced to go abroad to get the English Prestwich or Williamson camera, or to France to get a camera from DeBrie, Gaumont, Pathe or Prevost. They could also follow the example of Horsely in the US or Léo-Ernest Ouimet in Canada and create their own equipment.
To fight The Trust legally, the indies banded together as the Sales Co., headquartered at 14th Street in New York City. The Sales Co. operated as a central exchange, with producers delivering their one-reel films to 14th St., from whence its product was shipped C.O.D. to buyers at the cost of $100 per reel. The Sales Co. remitted $95 per reel to the filmmaker and kept a $5-per-reel fee in order to finance the fight against The Trust. Horsely's Centaur Co. was making one western, one drama and one Mutt & Jeff comedy per week, all one-reelers, for an output of 120 prints per week. This meant it was remitting $600 per week to the Sales Co., which had an income of about $5,000 to $7,500 per week from all the independent production companies. With these funds the Sales Co. retained first-rate patent attorneys to sue the Patents Co. and put an end to its attempt at monopolizing the motion picture business. The indies eventually won, and even the $2-per-week royalty on each projector was terminated by the courts.
The Trust, which had concentrated on technology rather than on the quality of films, had failed to keep up with the development of the crowd-pleasing narrative film, continuing to churn out simple-minded pictorial essays that found little favor with the maturing movie-going audience. Eventually all the production companies that had dominated the industry before the rise of the indies went out of business, including Edison, Biograph and Essanay. The last remaining Trust member, Vitagraph, was acquired by Warner Bros.
Due to bad weather conditions in the summer and early fall of 1911, making motion pictures in the New York City area became difficult. In response, Horsely moved Centaur to California, opening the first motion picture studio in Hollywood at the corner of Sunset Boulevard and Gower Street on October 27, 1911. The film was developed after dark and shipped to Centaur's Bayonne office to the laboratory for printing. Al Christie--a Canadian who went on to found his own film company, the Nestor Motion Picture Co.--managed the comedy operation of the studio in both Bayonne and Los Angeles. Westerns were produced by Milton J. Fahrney and dramas were produced by Tom Ricketts. All three producers were responsible for one one-reel picture per week.
On May 20, 1912, the Universal Film Manufacturing Co. was formed and absorbed many independent film companies in exchange for stock, including Horsely's Centaur. For the Hollywood studio, New Jersey laboratory and other assets, Horsely received $175,000 in preferred stock and $204,000 in common stock in Universal shares. He was such a respected member of the film community by that point that he was appointed Universal treasurer at the salary of $200 per week. Soon after the formation of the company, a battle for control of Universal started as Carl Laemmle and his faction took on Pat Powers of Powers Pictures for control. Horsely held the balance of power due to his stake, and in the summer of 1913 he sold his stock to Laemmle for a substantial sum, including a first payment of $197,000 and the balance paid off at a monthly rate of $5,000 in notes. Now rich beyond his dreams, Horsely took his family on a trip back to the United Kingdom, then toured Europe, eventually resigning as treasurer of Universal.
Horsely was in Europe when war broke out in August 1914. The Bostock Animal and Jungle Show was evicted from its London exhibition rooms due to military necessity. The manager of the Jungle Show sold it to Horsely for $40,000, approximately a tenth of his fortune from the sale of his Universal stock. Horsely transported the show's assets to the US by ship. From the docks of Brooklyn, Horsely shipped the menagerie, which included 58 lions and two elephants, to Los Angeles. Altogether it cost him a total of $15,000 to freight the animals from England to L.A. He spent a further $47,500 to create a new park for his show, including grandstands, arenas, cages, and a concrete fence on a property at Washington and Main that rented for $600 per month.
After he opened the show in 1915 he was facing a daily overhead of $225, though the most tickets the show ever sold in a day was $165, while on a bad day the show took in as little as $1.25. To make the show pay, Horsely built a film studio at the site that he called the Bostock Jungle Films Co., which included its own film processing lab. Horsely began turning out movies, many of which used the wild animals as background. His new studio made five-reel dramas with Crane Wilbur, "Stanley in Africa" pictures, and approximately 200 comedies with George Ovey. By the fall of 1918 his movie-making venture was through, and when he filed for bankruptcy in 1919, the once-rich Horsely was $38,000 in debt.
The loss of his company, his exotic animal show and his fortune broke David Horsely. He died on February 23, 1933, a forgotten man, barely remembered as one of the men who saved the film industry from The Trust and pioneered Hollywood as a filmmaking center. Horsely was interred in Hollywood Cemetery, now known as Hollywood Forever Cemetery, reduced to a footnote in American cinema history.- Actor
- Director
- Writer
Roscoe Arbuckle, the youngest of nine children, reportedly weighed 16 pounds at birth in Smith Center, Kansas on March 24, 1887. His family moved to California when he was one year old. At age 8 he first appeared on the stage. His first part was with the Webster-Brown stock company. From then until 1913, Roscoe was on the stage, performing as an acrobat, a clown, and a singer. His first real professional engagement was in 1904, singing illustrated songs for Sid Grauman at the Unique Theater in San Jose, California at $17.50 a week. He later worked in the Morosco Burbank stock company and traveled through China and Japan with Ferris Hartman. His last appearance on the stage was with Hartman in Yokahama, Japan in 1913, where he played the Mikado.
Back in Hollywood, Arbuckle went to work at Mack Sennett's Keystone film studio at $40 a week. For the next 3-1/2 years he never starred or even featured, but appeared in hundreds of one-reel comedies. He would play mostly policemen, usually with the Keystone Kops, but he also played different parts. He would work with Mabel Normand, Ford Sterling, Charles Chaplin, among others, and would learn about the process of making movies from Henry Lehrman, who directed all but two of his pictures. Roscoe was a gentle and genteel man off screen and always believed that Sennett never thought that he was funny.
Roscoe never used his weight to get a laugh. He would never be found stuck in a chair or doorway. He was remarkably agile for his size and used that agility to find humor in situations. By 1914 he had begun to direct some of his one-reels. The next year he moved up to two-reels, which meant that he would need to sustain the comedy to be successful; as it turned out, he was. Among his films were Fatty Again (1914), Mabel, Fatty and the Law (1915), Mabel and Fatty's Wash Day (1915), Mabel and Fatty Viewing the World's Fair at San Francisco (1915), Fatty's Reckless Fling (1915), and many more. For "Mabel and Fatty Viewing the World's Fair at San Francisco", Keystone took the actors to the real World's Fair to use as background; the studio's cost was negligible, while the San Francisco backgrounds made the picture look expensive.
By 1917 Roscoe formed a partnership with Joseph M. Schenck, a powerful producer who was also the husband of Norma Talmadge. The company they formed was called Comique and the films that Roscoe made were released through Famous Players on a percentage basis, and soon Arbuckle was making over $1,000 a week. With his own company Roscoe had complete creative control over his productions. He also hired a young performer he met in New York by the name of Buster Keaton. Keaton's film career would start with Roscoe in The Butcher Boy (1917). Roscoe wrote his own stories first, tried them out and then devised funny twists to generate the laughs. His comedy star was second only to Charles Chaplin. With the success of Comique, Paramount asked Roscoe to move from two-reel shorts to full-length features in 1919. Roscoe's first feature was The Round-up (1920) and it was successful. It was soon followed by other features, including Brewster's Millions (1921) and Gasoline Gus (1921).
Ufortunately, tragedy struck on Labor Day on September 5, 1921 with the arrest and trial of Roscoe Arbuckle on manslaughter charges. Roscoe with friends Lowell Sherman and Fred Fishback drove to San Francisco where they checked into the St Francis Hotel threw a party and which was crashed by a "starlet" named Virginia Rappe, who fell seriously ill and died three days later from a ruptured bladder. Rappe had accused Arbuckle of raping her prior to passing away, but Rappe had a history of accusing men of rape. The newspapers, led by William Randolph Hearst, used this incident to generate Hollywood's first major scandal. Roscoe was tried not once but three times for the criminal charges; the trials began in November 1921 and lasted until April 1922; the first two ended with hung juries (the mistrial decision in the second trial was reached on February 3, 1922, the day after Arbuckle's friend and fellow Paramount director William Desmond Taylor was found murdered, and Arbuckle was visibly affected by the news). At his third and final trial in April of 1922, the jury not only returned a "not guilty" verdict but excoriated the prosecution for pursuing a flimsy case with no evidence of Arbuckle having committed any crime; it was at this final trial that the jury went further, writing a personal letter of sympathy and apology to Arbuckle for putting him through this ordeal. He kept it as a treasured memento for the rest of his life.
However, Arbuckle's acquittal marked the end of his comedic acting career. Unable to return to the screen, he later found work as a comedy director for Al St. John, Buster Keaton and others under the pseudonym "William Goodrich" (he was inspired to use this pseudonym by Keaton, who suggested Arbuckle use the name "Will B. Good"). In 1932 producer Samuel Sax signed Roscoe to appear in his very first sound comic short films for Warner Brothers, starting with Hey, Pop! (1932). He completed six shorts and showed the magic and youthful spirit that he had a decade before. With the success of the shorts, Warner Brothers signed Roscoe to a feature film contract, but he died in his sleep on June 29, 1933 , at age 46, the night after he signed the contract.- Renee Adoree was born Jeanne de la Fontein in Lille in Nord-Pas-de-Calais, France, on September 30, 1898. She had what one could call a normal childhood. Her background is, perhaps, one of the most difficult to find information on any actress in existence. What we do know that her interest in acting surfaced during her teen years with minor stage productions in France. By 1920 she had attracted the attention of American producers and came to New York. Her first film before US audiences was The Strongest (1920) that same year. That was to be it until 1921,, when she appeared in Made in Heaven (1921). Renee wondered if she had made the right move by going into motion pictures because of two minor roles in as many films. Finally MGM saw fit to put her in more films in 1922. Movies such as West of Chicago (1922), Day Dreams (1922), Mixed Faces (1922) and Monte Cristo (1922) saw her with meatier roles than she had had previously. Renee was, finally, hitting her stride. Better roles to be sure, but still she was not of first-class caliber yet.
All that changed in 1925 when she starred as Melisande with John Gilbert in The Big Parade (1925). The picture made stars out of Renee, Gilbert and Karl Dane. Based on the film's success, Renee was put in another production, Excuse Me (1925). It lacked the drama the previous picture but was well-received. In a plot written by Elinor Glyn, Renee starred as Suzette in Man and Maid (1925). This was Renee's most provocative role yet and she was fast becoming one of the sexiest actresses on the screen. In 1927 Renee starred as Nang Ping in Mr. Wu (1927), along with her sister Mira Adoree. The film was a hit, with co-stars Ralph Forbes and Lon Chaney, but it was Renee's character that carried the film. After several more pictures, her career was slowing down. She appeared in a bit part in Show People (1928) later that year. The following year she had an uncredited bit role in His Glorious Night (1929). Re-discovered by First National Pictures after being released by MGM, she appeared in The Spieler (1928), in which she was a struggling carnival manager trying to overcome the dishonesty that went on in her organization.
Ill with tuberculosis, she retired in 1930. Less than a week after her 35th birthday, on Oct. 5, 1933, Renee Adoree died in Tujunga, CA. - Writer
- Additional Crew
The 1926 publication of "Topper" brought writer Thorne Smith immediate acclaim. A sophisticated spoof of middle-class manners and morals, it chronicles the madcap adventures of Cosmo Topper, a mild-mannered bank executive who is rescued from his drab "summer of suburban Sundays" by fun-loving ghosts George and Marion Kerby. A sequel, "Topper Takes a Trip" (1932), records the further ribald escapades of Topper and the Kerbys on the French Riviera. The improbable trio went on to inspire several movies, notably the 1937 film Topper (1937) starring Cary Grant and Constance Bennett, as well as a hit television series Topper (1953)). Following the success of "Topper", Smith enhanced his reputation with a number of clever fantasies. "The Stray Lamb" (1929) features a Topper-like hero whose complacent life is upset when he is transformed into an assortment of animals. In "The Night Life of the Gods" (1931) Smith captivated readers with the nocturnal antics of an oddball inventor who cavorts around Manhattan with reincarnated Greek and Roman deities, and in "Turnabout" (1931) he offered up a screwball comedy about a jaded husband and wife who temporarily switch identities. "Rain in the Doorway" (1933) transports a harassed lawyer from the gloom of the Depression through a portal into a department store tinged with The Marx Brothers lunacy, and "Skin and Bones" (1933) tells of a fashionable photographer who becomes a nearly invisible skeleton at the most inopportune moments. "Did She Fall?", Smith's one mystery, came out in 1930. During this period Smith also wrote "Lazy Bear Lane" (1931), a children's novel, and "The Bishop's Jaegers" (1932), a metaphorical tale about chance-met passengers on a lost ferry boat who find unexpected sanctuary in a nudist colony. "The Glorious Pool" (1934), in which a group of aging hedonists happen upon the fountain of youth, was the last fantasy Smith completed. While vacationing in Florida with his wife and two young daughters, Smith died suddenly of a heart attack on June 21, 1934. His unfinished novel, "The Passionate Witch", was published posthumously in 1941 and adapted for the screen the following year by director René Clair as I Married a Witch (1942), starring Veronica Lake and Fredric March. It was not, as often claimed, the inspiration for the long-running television series Bewitched (1964) with Elizabeth Montgomery.
As recently as 1997 The New York Times rated Smith "one of America's most significant humorous writers" and credited his mischievous ghosts with inspiring such movies as The Ghost and Mrs. Muir (1947), Heaven Can Wait (1978), Beetlejuice (1988), Ghost (1990), Always (1989) and A Life Less Ordinary (1997).- One of the most famous bank robbers in history, he was born John Herbert Dillinger on June 22, 1903, to a grocery store owner named John Wilson Dillinger and his wife Mollie (the family also included an older sister, Audrey). By all accounts the Dillingers were a normal "all-American" family, but the normality was broken when John was three and his mother passed away (her death has been ascribed to a variety of causes, but the best guess is that she died of pneumonia). With his mother gone and his sister getting married and moving out a few years later, John was left alone with his father, who was caring but not very affectionate. In that kind of environment young John, a naturally rambunctious boy, began to rebel and get into all sorts of mischief, including shoplifting, vandalism and even stealing coal from train cars and selling it to neighbors. In order to curb his son's wild behavior, as well as to fulfill his own need for companionship, John Sr. married Elizabeth Fields and moved the family back to her hometown of Mooresville, IN, but the change of scenery did little to deter John's behavior. He was still in and out of trouble, and by the time he was 16 he had dropped out of high school and taken a job at a machine shop. Even as a young adult, though, John was irresponsible and in 1921 he was caught by a policeman in Indianpolis trying to steal a car. He managed to elude the officer in a foot pursuit, fled home and joined the Navy. He was assigned to the U.S.S. Utah (a ship that would later be sunk by the Japanese at Pearl Harbor). Unable to stay out of trouble even in the Navy, he soon deserted and returned home, and not long afterwards in 1924 he married Beryl Hovius and took another job. He was a neglectful and sometimes abusive husband and an absentee worker, and hooked up with an ex-con named Ed Singleton. They hatched a plan to mug an elderly grocer named Frank Morgan, who was known to carry his weekly cash and receipts with him to the bank after his store closed on Saturday night. The plan was for John to rob the old man at gunpoint on the street and hop into a getaway car driven by Singleton, which was parked at a nearby curb. However, when John confronted Morgan, the old man fought back, knocking the gun out of John's hand and causing it to fire. Thinking he had accidentally shot the old man (which he hadn't), John fled to the pre-arranged getaway spot, only to find that Singleton wasn't there. He fled on foot but was caught two days later. The incident aroused public indignation, and after a trial and conviction, the judge gave John 10 years for assault with a deadly weapon (he had tried pistol-whipping the old man) and 20 years for attempted robbery, despite the fact that this was John's first crime and he had pleaded guilty and confessed freely to the crime. Embittered, Dillinger vowed revenge.
He was sent to Indiana's Pendleton Reformatory, where he hooked up with experienced thieves Harry Pierpont and Homer Van Meter. There John learned a little bit about crime. In 1929 Beryl divorced him and he was denied parole. He was later transferred to the reformatory at Michigan City, where he was reunited with the recently transferred Pierpont and Van Meter and introduced to Charles Makley, Russell Clark and John "Red" Hamilton, all professional robbers. While John learned the art of bank robbery, the cons groomed him to help plan their escape from prison. In May of 1933 he used the fact that his stepmother Lizzy was dying as a reason to ask for parole, which was granted. He hung around his family farm enough to help his father for a while and to make a positive impression on the townsfolk before embarking on his life of crime. He hooked up with a group of petty thieves who were associated with his jailhouse buddy Pierpoint and pulled off a string of grocery-store heists before robbing his first bank in Daleville, IN, in July of 1933 (his take was $3,500). He then embarked on a series of bank robberies in Indiana and Ohio, using the proceeds to buy guns and bribe key guards at the Michigan City prison in order to help his friends Pierpoine and Van Meter escape. The escape went off without a hitch in September of 1933. Pierpoint and Van Meter got away scot-free, but Dillinger was captured by police in an Ohio boarding house and taken to Lima to be held in the local jail. Learning of Dillinger's capture, Pierpont and the others (minus Van Meter, who struck out on his own after the escape) broke John out, killing an elderly deputy sheriff in the process. Reunited, the full-strength gang was one of the most efficient and professional of the era due to their careful planning and execution of robberies, their tactic of avoiding confrontations with police and their calm and respectful manner towards their victims, which earned the gang the moniker "The Gentleman Bandits" and turned handsome and dashing ringleader Dillinger into a household name.
From the fall of 1933 and into the winter, the gang robbed banks in Indiana, Ohio, Illinois and Wisconsin, using Chicago as a base of operations. While living there, John fell for a party girl named Evelyn "Billie" Frechette, who would become his lifelong companion. In December of 1933 the gang decided to take a break from the "heat" caused by law enforcement and went on vacation in Miami. In January of 1934 they decided to temporarily split up, with Pierpont, Clark and Makley heading for Tucson, AZ, and Dillinger and "Red" Hamilton heading back to Chicago. It was there that John committed his one and only murder. During the robbery of the East Chicago (Indiana) bank, an alarm went off, and the arrival of police forced Dillinger and Hamilton to take hostages to escape. As they were leaving the bank, a patrolman named Patrick O'Malley fired at the exposed Dillinger, only to have his bullets bounce of the bandit's bulletproof vest. In a fit of anger, Dillinger--carrying a Thompson submachine gun--shot and killed O'Malley. The resulting gun battle with other officers resulted in Hamilton being wounded before the pair managed to escape. Once Red was tucked away in a safe house where he could get medical aid, Dillinger reunited with the others in Tucson. Unbeknownst to Dillinger, however, Tucson police had taken notice of Pierpont, Makley and Clark, whose fancy clothes, flashy girlfriends and heavy suitcases (which carried their guns and robbery proceeds) aroused their suspicion. When police discovered their true identities they quickly arrested the gang, and when Dillinger arrived in Tucson he was arrested, too. Extradited back to Indiana to stand trial for the murder of Officer O'Malley, Dillinger was found guilty at a lengthy trial (in which his defense was that he wasn't in Chicago at the time), sentenced to death and returned to Michigan City Prison, where he was placed on Death Row. However, in transit to Michigan City he was held overnight at a jail in Crown Point, IN, where he pulled off one of the great jailbreaks of all time by carving a "pistol" out of a bar of soap and coloring it black with shoe polish, fooling his jailers into thinking it was a real gun (adding insult to injury, he escaped in the town sheriff's personal car). Although the fake gun story may be apocryphal, it was a fact that the most notorious criminal in America was on the loose again.
Reuniting with Van Meter and Hamilton, and joining forces with the infamous Baby Face Nelson (born Lester Gillis) and his gang, the new "Super Gang"--as the press had dubbed them--robbed banks in Illinois, Wisconsin and Iowa. This time, though, they were dealing with more than local police. Since their robbery spree had crossed state lines--a federal offense--they were now subject to pursuit by the Federal Bureau of Investigation (FBI). Despite the fact that every lawman in the country was looking for him and that his picture was on every magazine and newspaper, John defied the logic of "laying low" by making a surprise visit to his father and relatives during a Sunday gathering at the family farm while FBI agents had the place under surveillance (he even posed for a now-famous photo in which he laughed and held a tommy gun in one hand and a wooden gun in the other). Eventually settling in St. Paul, MN, the gang laid low between heists until the FBI found them in early April of 1934. Dillinger, his girlfriend Billie and Van Meter had to shoot their way out of an apartment building to escape FBI agents, who had shown up acting on a tip. Two days later gang member Eddie Green was shot and killed by the FBI. Not long after that the agents struck again, this time nabbing Billie at a bar where John was supposed to meet an underworld contact, not knowing the contact was setting him up for capture by the FBI. Dillinger knew that they finally had to "lay law" and arranged with an underworld contact of Baby Face Nelson to stay at a resort lodge in Wisconsin called Little Bohemia, which was owned by a former Chicago saloonkeeper. The man, despite initial reservations about having the gang stay at his facility, raised no objections. However, his wife wasn't as accommodating. She managed to slip a letter out of town to the FBI agent in charge of the Chicago office, Melvin Purvis. On April 22, 1934, Purvis and a squad of agents and local cops descended on the lodge. When the lodge owner's dogs began barking, the startled officers, believing they'd been discovered, rushed the house at the same moment three locals were driving away after having eaten at the restaurant. Believing them to be fleeing gang members, Purvis ordered agents to fire at their oncoming car. One man was killed and his two friends were wounded. Meanwhile, Dillinger, Nelson and the others escaped. Before getting out of the area Nelson, cornered by agents at a nearby lodge, shot his way out of the trap, killing one FBI agent and a local police officer.
A statewide alert was issued for the gang, and not long afterwards Dillinger, Van Meter and gang member Red Hamilton ran a roadblock in Minneapolis. Dillinger and Van Meter escaped without injury, but Hamilton was shot and killed. A few weeks later gang member Tommy Carroll died in a shootout with police in Iowa. For the next several weeks the gang laid low and avoided each other, with only Dillinger and Van Meter running together. Eventually the two outlaws were so afraid of being spotted that they went to an underworld doctor in Chicago to have plastic surgery performed to change their face. The doctor botched the operation--an associate commented that they looked like they had been mauled by rabid dogs--the two were convinced that they would no longer be easily recognized. Out of desperation what was left of the original gang--Dillinger, Baby Face Nelson and Van Meter, along with Nelson's associates Johnny Chase and "Fatso" Negri, robbed a bank in South Bend, IN, on June 30, 1934. It would be the last heist for any of them. They had hoped the haul would be enough to finance an escape to Canada or Mexico, but it was only enough to keep them in hiding or on the run from ever-closing lawmen--the FBI had just declared Dillinger "America's First Public Enemy #1". While the others hit the road, John settled in Chicago, living under the alias of "Jimmy Lawrence, a clerk for the Chicago Board of Trade" in a boarding house owned by bordello madam Anna Sage, an illegal immigrant from Romania. Dilliner even began dating one of Anna's girls, Polly Hamilton. However, if he thought he was safe and secure, he was wrong. Sage, whose real name was Ana Cumpanas, was facing deportation by the INS for her numerous prostitution arrests. Desperate to stay in America, she called the FBI and made a deal: She'd set up Dillinger to be arrested and the FBI would intercede on her behalf with Immigrfation and Naturalization Service (INS) officials. Purvis agreed to the terms. On the evening of July 22, 1934, Anna called Purvis and told him that she, Polly Hamilton and Dillinger would be going to see a movie at the nearby Biograph Theater (Manhattan Melodrama (1934), with William Powell and Clark Gable). Purvis assembled a squad and headed to the theater. On that sweltering summer night, Purvis and his assistant, Sam Cowley, positioned agents around the theater with Purvis stationed by the door to alert the other agents by lighting a cigar upon seeing Sage (they didn't know what Dillinger looked like after his surgery). When the movie let out, Purvis spotted Anna, whose orange dress looked red under the lights of the awning--thus giving birth to the "Woman In Red" --and lit his cigar. Two nearby FBI agents muscled their way through the crowd of exiting patrons. Just as they were coming up behind Dillinger, he spotted them and made a run for it. Seeing him desperately groping for a gun in his pants pocket, the two agents opened fire. Mortally wounded, Dillinger stumbled forward and fell face down in the mouth of a nearby alley while Polly Hamilton, who may not have known who "Jimmy" really was, screamed hysterically. Only 31 years old, the infamous John Dillinger was dead.
Even in death, however, Dillinger still managed to captivate the nation. When the news hit the radio waves, friends called friends saying, "Did you hear what happened?". Newspapers carrying the story were instantly sold out. His corpse was taken to The Alexian Brothers Hospital in Chicago, who put it on display for several days so people could come in and look at the slain outlaw like he was an art exhibit. Finally his body was returned to his father, who buried his notorious son in the local cemetery in Mooresville, Indiana. Before the dirt was shoveled onto John's coffin, cement was poured in to prevent treasure seekers from robbing Dillinger's grave.
John Dillinger continues to fascinate the public, with his good looks, cocky attitude, daring robberies and fantastic escapes. He has been immortalized in folk songs, books, television and movies. He has gone down in history as one of the most famous criminals who has ever lived. - Cinematographer
- Director
- Writer
Beginning his career at age 13 as a stagehand for D.W. Griffith, George W. Hill worked his way up through cinematography and screenwriting to finally begin directing films in the early 1920s. His later films took on a stark, brutally realistic atmosphere and were renowned for their effective use of shadows in the lighting as in The Big House (1930), considered to be his masterpiece. He was found dead in his beach house in 1934, victim of an apparent suicide.- Francelia Billington was born in Dallas, Texas, where she was raised on a ranch and became an expert horsewoman. The pretty young Texan was also on stage from a young age and soon journeyed to Hollywood and became a star of westerns and melodramas, first working with the Kalem Film Co. in 1912, then moving on to Reliance-Majestic and Thanhouser the following year. She starred in many films for legendary director D.W. Griffith and later joined Universal Pictures, where she worked with such directors as Rupert Julian and Rex Ingram, She didn't confine herself to just horse operas, though. One of her best roles was in Erich von Stroheim's epic Blind Husbands (1919)). She also starred alongside her husband Lester Cuneo in many westerns in the 1920s. He committed suicide after their marriage broke up in 1925, and she died of tuberculosis at the tragically-young age of 39.
- Actor
- Director
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Lowell Sherman was one of the early cinema's first major stars who successfully made the transition from actor to director. Born in either 1885 or 1888, his parents were John Wm. Sherman, a theatrical producer (1855-1924), and Julia Gray Sherman, an actress and daughter of actress Kate Gray.
In 1905 Lowell embarked on his first real stage work in New York and his first film work took place in 1914. From the start, he proved to be a respected actor who played the roles of the playboy and villain very well. He directed early films for Greta Garbo and Katharine Hepburn, married three times and attended the 1921 party at the St. Francis Hotel in San Francisco that scandalously ended the career of Roscoe 'Fatty' Arbuckle. Sherman died of pneumonia in December 1934.- Frederick Warde was born in England in 1851, and became a popular Shakespearean actor in the 1870s in New York. By the 1910s his general popularity was in decline, though he was still considered a leading authority on Shakespearean acting. He appeared in Richard III (1912) at age 61 and often performed live in the theater where the film was being shown. Warde would lecture on the topic of William Shakespeare and deliver monologues and recitations between reels of the film.
- Edith Roberts was born in New York City on September 17, 1899. She was a starstruck 19-year-old when she made her debut in The Deciding Kiss (1918). Although she didn't get the acclaim that her more successful counterparts did, she remained very busy throughout the decade and into the 1920s. After The Wagon Master (1929), Edith left films. On August 20, 1935, she died in Los Angeles, California, from complications from a horrendous childbirth. She was only 35 years old.
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Prolific English poet, novelist, essayist G (ilbert) K(eith) Chesterton was born in London on 29 May 1874. He was traditional, extolling the virtues of the 'little man', and the romantic, pre-modern past. He rejected the experimental in art as well as life, and distrusted the state and the modern world. His _Father Brown series of detective novels center around a humble but clever Anglican Catholic priest; Chesterton converted to Catholicism at the age of 48. He was considered somewhat eccentric, idiosyncratic, and was fiercely opinionated. George Bernard Shaw disliked his work, calling him "a freak of French nature", and various men and women of letters disdained the comparative gaudiness of his thought and his work, and his unfashionable political conservatism. Nonetheless he was popular, and beloved by many. He died on 14 June 1936, the same year his autobiography was published.- Director
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Director Alan Crosland was born in New York City on August 10, 1894, into an upper-middle class family, which soon moved to East Orange, NJ, where Alan was reared. His family's finances allowed for him to spend part of his elementary education in England, where he acquired a curious Anglo-American accent that he would affect for the rest of his life. With a restless personality that was complemented by a sharp intellect and a smooth tongue, Crosland had an uncanny ability to befriend even the most disagreeable people around him (a talent he would put to good use in Hollywood). He attended Dartmouth College but left before graduation, deciding he wanted to become a journalist, and eventually landed a job with the New York Globe, writing articles and short stories on the side for movie magazines. From 1912 he began to moonlight with the nearby Edison Company as an actor and stage manager. He performed a variety of duties there, eventually directing the studio's last feature, The Unbeliever (1918), shortly before being drafted into the US Army during World War I. He served out the Great War in the Army Photo Service. After the armistice he signed with a smaller independent company, Select, one he had briefly worked with prior to the war, remaining with them on ten more pictures through 1922. During this period he gained an enviable reputation for effectively directing some of the most temperamental stars of the day. He was of the few directors who actually liked Erich von Stroheim and obtained effective performances from the notoriously hammy (yet undeniably talented) Lionel Barrymore.
He signed with Goldwyn-Cosmopolitan in 1923, where the reviews for Under the Red Robe (1923) placed him solidly in the ranks of Hollywood's top directors. He became the first director a studio wanted when shooting a big-budget, prestigious historical drama, especially if it starred a difficult actor that might be inclined to spin costs out of control. With his reputation growing, Crosland lived life to the hilt, thoroughly enjoying the 1920s Hollywood lifestyle; he was frequently seen around town looking always dapper in the latest flashy cars and inside the latest hot spot with a dazzling starlet.
After a brief stint at Paramount, Crosland signed with Warner Brothers and was assigned to projects by Darryl F. Zanuck just when the studio was in the midst of a make-or-break gamble on sound with its Vitaphone sound-on-disk system. At that time Warner Brothers was considered almost a "Poverty Row" studio, well below the ranks of MGM, Universal and Paramount. It had acquired an unenviable reputation in Hollywood as having only two major stars, one of whom was a German Shepherd named Rin-Tin-Tin and the other the temperamental, hard-drinking John Barrymore, who was hauled out for its few prestige pictures. One of the five combative brothers who ran the studio, Sam Warner, saw sound as the way to eliminate the need for theatrical orchestras and establish what he felt was Warner's rightful place within the film industry. Crosland's reputation for handling both spectacle and difficult stars made him the obvious choice to direct the studio's first tentative stab at sound, Don Juan (1926), which was the first film to contain synchronized music and sound effects. It was a moderate success and he was picked for an even more ambitious project, The Jazz Singer (1927), a part-talkie, on which the studio's entire fortunes rested. Crosland was chosen to direct the maudlin story largely on his ability to work with the notoriously difficult Al Jolson, after George Jessel (who had starred in the Broadway production) walked out over a pay dispute. The $500,000 production had only 281 spoken words (mostly incidental to the songs and ad-libbed by Jolson) but it ignited the public's voracious appetite for talkies and grossed $3,000,000, a blockbuster in those days.
Hollywood was soon caught up in a war between competing sound technologies: Warner's Vitaphone and Fox's superior Western Electric sound-on-film process. Meanwhile, studios faced enormous conversion costs and uncertainties over their stars' abilities to transition to sound. By 1928 the silent film had reached the pinnacle of its artistic achievement and the early talkies, by comparison, appeared crude. While some studios--most notably MGM (whose parent Loew's faced monumental costs related to converting its extensive theater network)--adopted a wait-and-see attitude toward both the public acceptance of sound and choosing a system, Warner's saw talkies in the form of its Vitaphone as its salvation. In Crosland's world of 1927-29, it should be remembered that sound cameras were fixed and muffled, large microphones had to be cleverly hidden and actors were often justifiably terrified of how their voices would be received. Unfortunately the Vitaphone process seriously limited the ability to edit a film, resulting in stagy long takes, and with its cumbersome electro-mechanical hardware and fragile records that would often break in transit, it was soon obvious that Fox's sound-on-film system was vastly superior (Warner's would quietly admit technological defeat in 1931 and convert).
Technology issues aside, the Vitaphone propelled Warner Brothers solidly into the ranks of the A-list studios and, infused with cash, it acquired Fox's First National theatrical network by 1930, a crucial business move that greatly expanded the studio's distribution capabilities and enabled it to ride out huge losses it would incur from 1931-34. It was during this all-too-brief transition period that Alan Crosland was the most experienced sound director in town. He directed another part-talkie hit, Glorious Betsy (1928), starring Dolores Costello, a return to his favored costume spectacle.
By mid-1929 it became apparent that a movie could not solely depend on the novelty of sound; hits required production values and a degree of action, an uncomfortable situation given the restrictions of the equipment. At this point Crosland stumbled badly. A primitive attempt at color didn't help On with the Show! (1929), a creaky musical starring a badly miscast Betty Compson and Arthur Lake, a textbook example of claustrophobic filmmaking and Crosland's first real flop. He tripped again with Captain Thunder (1930), one of his worst films. His next two assignments delved into the opera genre with dismal box office returns. His personal life became rocky, with his first marriage to Juanita Fletcher failing in 1930. He hastily wed actress Natalie Moorhead, a union that would last less than five years. Although he would direct more than 20 features--some of them moderately successful--after his career triumph with "The Jazz Singer," Crosland fell from the ranks of A-list directors and settled into directing B-level pictures.
Early in the morning of July 10, 1936, he was driving on Sunset Boulevard when his car hit some road debris and he swerved off the road, flipping twice in a construction zone. He was rushed to the hospital with multiple broken bones and a suspected skull fracture. Within four days he contracted pneumonia and his condition was downgraded by his doctor. He died on July 16, 1936, just shy of his 42nd birthday. His last film, The Case of the Black Cat (1936), was completed by William C. McGann. Crosland was survived by his son (with Juanita Fletcher), Alan Crosland Jr., who became a very successful television director in the 1960s-'70s.- Director
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Inventing a stage name "Boleslawski" (later spelled also "Boleslavsky"), young Pole Boleslaw Ryszard Srzednicki left his second home (Odessa, Russian Empire) to study theatre and train as an actor at the world-famous Moscow Art Theatre before and during WW I. He also acted in a few early Russian films. In the chaotic wake of the Russian Revolution, Civil War and then Soviet Russia's war with Poland (1918-21)--in which Boleslawski fought as a Polish soldier--he left Russia forever, traveling through Poland and Germany, and wound up in the US. In the 1920s he became, along with Maria Ouspenskaya, one of the first teachers in the US of the serious, emotionally grounded, ensemble style of the Moscow Art Theatre (later known as "The Method"). To put his thespian theories into action, Boleslawski created the American Laboratory [Stage] Theatre in New York in 1923 (the forerunner of the Group Theatre of the 1930s and the Actors Studio" after WW II).
Boleslawski also wrote serious theoretical articles about acting for "Theatre Arts Magazine", and in 1933 collected them in a book, "Acting--The First Six Lessons". The coming of sound to motion pictures, and the financial collapse of the American Laboratory Theatre, forced Boleslawski to abandon the New York stage and accept an offer to direct films in Hollywood, beginning in 1929. He made several important films at major studios like MGM and Fox before his premature death in January 1937. Among his most important directing assignments were Rasputin and the Empress (1932) (the only film in which John Barrymore, Lionel Barrymore and Ethel Barrymore appeared together), Men in White (1934) (Clark Gable and Myrna Loy), The Painted Veil (1934) (Greta Garbo), Les Misérables (1935) (Fredric March and Charles Laughton) and Theodora Goes Wild (1936) (Irene Dunne)--a wide range of genres. He even directed a musical, Metropolitan (1935) (Lawrence Tibbett) and a western, Three Godfathers (1936) (Chester Morris).
Boleslawski was married at least three times. From his last marriage--to pianist-actress Norma Drury--he had one child, a son named Jan (1935-1962) who tragically was to lose his father before he was two years old, and later to lose his own life at the tender age of 27. Boleslawski's death of cardiac arrest, at age 47--before he had completed his final film (The Last of Mrs. Cheyney (1937) with Joan Crawford)--was shockingly sudden and from unclear causes. One explanation, probably incorrect, traces his illness to his penultimate film, The Garden of Allah (1936) (with Marlene Dietrich), the exteriors of which were shot in the burning heat of the southwestern American desert. At some point, it is claimed, he unwisely "drank [unboiled] water" rather than soft drinks and bottled water (as the company had been advised to do).- Actress
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Popular star in Hollywood for two decades through 1936, Marie Prevost began as a Mack Sennett "Bathing Beauty" in 1917, later starring in dozens of light comedies. But not long into the sound era, she encountered problems with her burgeoning weight, to the jeopardy of her career. Her self-remedy resulted ultimately in her starving to death.
Marie Prevost was born Mary Bickford Dunn in Sarnia, Ontario, Canada, on November 8, 1898. She broke into films when she was 18 years old in Unto Those Who Sin (1916). Finding work in films was difficult in the early days, just as it is today. Marie found herself doing odd jobs until 1917, when she made another film, Secrets of a Beauty Parlor (1917). After filming was completed, Marie found herself unemployed again and went back to scraping around for a living. She kept going to casting calls, but it wasn't until 1919 when she landed a role in Uncle Tom Without a Cabin (1919). Finally, in 1921, movie moguls discovered her talent and began casting her in a number of roles. She appeared in four films that year and an additional six in 1922. Marie seemed to be on a roll. She stayed busy through the balance of the 1920s in a number of films, mostly comedies. As a matter of fact, she would continue making films until 1933, when her appeal began to fade. She made no films in 1934 and precious few after that. With the advent of sound her thick New England accent didn't lend itself well to the "demon microphone", despite her beauty. Her depression about her career--or lack of it--drove her to alcohol, and she died on January 23, 1937, in Hollywood, of a combination of alcoholism and malnutrition, virtually broke and living in a dilapidated apartment. She never saw the release, in 1938, of her final film appearance: Ten Laps to Go (1936). She was 38 years old.- Director
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Edward Laemmle started his film-industry career at Universal Pictures in 1915 when Carl Laemmle--his uncle and also the founder and owner of the studio--asked him to leave his college electrical engineering studies and join him at his recently purchased 230-acre location on Lankersheim Blvd. in the San Fernando Valley. Edward started as an assistant director, mainly under John Ford.
In 1917 he was dispatched to head an expedition as producer and make a film of the natives in Siam, Java and New Guinea. On this venture his sailing ship became shipwrecked in New Guinea in territory inhabited by the Kia Kia tribe, who were cannibals. The expedition spent nearly two years there, getting some remarkable footage. The resulting film, Shipwrecked Among Cannibals (1920), was the first to gross $1,000,000 for Universal.
Laemmle directed approximately 50 films. He had numerous assistants who later became renowned directors, William Wyler being one of the more famous.- Director
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The youngest of three filmmaking brothers (the others were John Ince and Thomas H. Ince), Ralph Ince's career mirrored that of his brother John: he went from acting in silents to directing, and with the advent of sound he turned character actor. Unlike John, however, he would eventually resume directing and was successful in UK productions from 1934 until his death.- Writer
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Handsome American actor, playwright and stage director/producer William Gillette was born in Hartford, CT, in 1853. His father Francis was a former United States Senator and crusader for women's suffrage and the abolition of slavery; his mother Elisabeth Daggett Hooker is a descendant of Rev. Thomas Hooker, who either wrote or inspired the first written constitution in history to form a government.
In 1873 William left Hartford to begin his apprenticeship as an actor, briefly working for a stock theatre company in New Orleans and then returning to New England. He made his debut at the Globe Theatre in Boston with Mark Twain's play "The Guilded Age" in 1875. His first major Civil War drama, "Hold by the Enemy", was a major step forward to modern theatre in that it abandoned many crude devices of Victorian melodrama and introduced realism into the sets, props, costumes, sound effects and performances; it was a critical and commercial success in America and Britain.
Gillette is probably best remembered, however, as the first actor to be universally acclaimed for portraying Sir Arthur Conan Doyle's famed detective Sherlock Holmes, playing the role first on stage in 1899 and continuing for more than 35 years. He also wrote many stage versions from Doyle's Sherlock Holmes novels and even starred in the film version, Sherlock Holmes (1916), directed by Arthur Berthelet for the Essanay Film Co. He had previously appeared in two other films, his debut being in J.P. McGowan's The Battle at Fort Laramie (1913) and the following year he played support as Jack Lane in The Delayed Special (1914), both of which starred Helen Holmes and were made for the Kalem Film Co. Gillette also became popular on radio, performing the first radio serial version of Sherlock Holmes in 1930 and in 1935. His last stage appearance was in Austin Strong's "Three Wise Fools" in 1936. He wrote 13 original plays, seven adaptations and some collaborations, encompassing farce, melodrama and novel adaptation. He also wrote two pieces based on the US Civil War, "Held by the Ememy" and "Secret Service", which were highly acclaimed. In 1882 he married Helen Nichols, who died in 1888 from peritonitis; he never remarried.
Gillette died from pulmonary hemorrhage in Connecticut in 1937 at age 83.- Writer
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Emmett Dalton was the youngest of the three Dalton brothers, part of a bandit gang notorious for robbing trains and banks in the Midwest during the late 1890s (interestingly, the brothers started their life of crime with a failed attempt at breaking into the safe on a Southern Pacific Railroad train in 1891 near San Luis Obispo, California). Emmett was shot several times and nearly died in the gang's infamous--and, as it turned out, futile--attempt to rob two banks simultaneously on October 5, 1892, in his hometown of Coffeyville, Kansas. Sentenced to life in prison, he served almost 15 years before being pardoned in 1907, in part because while in prison he found religion and rehabilitated himself to the satisfaction of prison authorities. Upon his release he married his childhood sweetheart and set out to rehabilitate the world--at least what he perceived as the world's proclivity to elevate outlaws to the status of heroes. Eventually his message came to Hollywood, where he acted in and consulted on several films about the "Wild West", at least two of them about his own folly as an outlaw. He also wrote the book "When the Daltons Rode," which was the basis of the western film When the Daltons Rode (1940). His exploits in life also include adventures in selling real estate and in advocating and campaigning for prison reform. He died in 1937 in Los Angeles, not too far from where Wyatt Earp (who had also found a place for himself in Hollywood) had also lived and died.- Actor
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Mostly remembered today as the father of Anthony Perkins, Osgood Perkins enjoyed a successful career on Broadway, appearing in 22 major productions from 1924-36, often produced by Brock Pemberton. The highlight of his stage career was starring in the hit "The Front Page" as Walter Burns at the Times Square Theatre in 1928. Despite his status on Broadway, he was considered merely a character actor in Hollywood and died far too young of a heart attack at age 45.- Actress
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Ruth Roland was, along with Pearl White, the queen of the early movie serials. She came from a show-business family, her father being a San Francisco theater manager and her mother a professional singer. Ruth made her acting debut at age 3-1/2, and soon became a professional actress and singer. Her parents divorced, then her mother died when Ruth was eight and she went to live with an aunt in Los Angeles, where she soon had her own vaudeville act. It was there she was spotted by a director for Kalem Studios. His offer of a movie career was quickly accepted, and she made her film debut in 1911. She made every kind of film for the studio, but was especially good in westerns and comedies. In 1915 she left Kalem for Balboa Pictures, and appeared in her first serial there the same year. She proved so popular that she was able to form her own production company, and over the next several years appeared in 11 serials, each one cementing her popularity. However, by 1923 she decided she had had enough and didn't renew her contract (she didn't need the money, as over the years she had become an astute businesswoman and real estate investor and amassed a fortune). She went back to vaudeville, and spent the next few years on the stage, with a film or two along the way. When sound came to motion pictures in 1929 she decided to try that medium, but the film she made, Reno (1930), was not successful, and she retired from the screen after one more film in 1935.- Actor
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Ted Healy was was born Ernest Lea Nash and grew up as a very good friend of Moses "Moe" and Samuel "Shemp" Horwitz (later Moe and Shemp Howard). In the '20s he changed his name to Ted Healy and got Moe, Shemp, and a violinist named Larry Feinberg (later Larry Fine) to do vaudeville acts with him as his stooges. As the 1930s started, Ted was becoming addicted to alcohol. Shemp left the act and Moe replaced him with Jerome "Curly" Howard. Those three also left the act because Ted Healy underpaid them and kept getting drunk. He spent the rest of his life doing feature films, most notably "Operator 13." Ted Healy died on December 21, 1937 while out celebrating the birth of his son. The cause of death was listed as nephritis on the autopsy.- Director
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Edgar Lewis began his career as a stage actor and entered the film industry in 1911 as an actor, making his directorial debut two years later. Specializing in action-adventure films and westerns, he directed dozens of pictures between 1913 and 1930, when he left directing and returned to his first love, acting. Most of his films during the sound era were in bit parts or uncredited roles. He appeared in his final film, Riding Wild (1935), in 1935 and retired. He died in Los Angeles in 1938.