As the movie industry blossomed, in the nineteen-tens and twenties, so did fan magazines, such as Photoplay .
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In June of 1949, she presented Photoplay Magazine's "Dream House" contest winner Virginia McAllister and her son with the key to a new house.
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In 1922, the cartoonist Dick Dorgan made fun of Valentino's superiority in a Photoplay editorial: "I hate him because he's too good looking," he wrote.
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What hasn't changed is the gap between myth and reality, whether it's Marvel Studios hyping the latest superhero franchise or Jack Warner planting stories in Photoplay.
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On the basis of that movie, in which he played a brash Marine corporal marooned with Linda Darnell on a South Seas island, the readers of Photoplay magazine voted him the year's No. 1 new male star.
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Photoplay was one of the first American film fan magazines. Founded in Chicago in 1911 by Macfadden Publications, Photoplay was founded the same year as Stuart Blackton's Motion Picture Story, a similar publication. Photoplay, as one of the first and most popular fan magazines, is credited as the originator of celebrity media. Photoplay was published from 1911 until 1980, at several points merging with other publications.
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Walley's work in Gidget Goes Hawaiian brought her the Photoplay Gold Medal Award for Favorite Female Newcomer. She was named Photoplay magazine's 'Most Popular Actress of 1961'.
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Photoplay edition refers to movie tie-in books of the silent film and early sound era at a time when motion pictures were known as "photoplays". Typically, photoplay editions were reprints of novels additionally illustrated with scenes from a film production. Less typically, photoplay editions were novelizations of films, where the film script was fictionalized in narrative form. Today, vintage photoplay editions are sought after by film buffs, bibliophiles, and collectors.
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Not only did the Joseph Warren novel make its first appearance in print as a photoplay, but the book is the only photoplay edition to feature film star Buster Keaton.
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These include Arnie Davis' Photoplay Editions and Other Movie Tie-In Books (Mainely Books, 2002), and Rick Miller's Photoplay Editions: A Collector's Guide (McFarland, 2002). Each list more than the 800 examples found in Petaja's pioneering guide. Thomas Mann's Horror and Mystery Photoplay Editions and Magazine Fictionizations (McFarland, 2004) examines genre editions.
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Photoplay was one of the first American film fan magazines. It was founded in 1911 in Chicago, the same year that J. Stuart Blackton founded Motion Picture Story, a magazine also directed at fans. For most of its run, Photoplay was published by Macfadden Publications. In 1921 Photoplay established what is considered the first significant annual movie award.
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The last days of photoplay music were of the era of 1927-1930, when sound films became popular. Silent films already made were generally released with orchestral soundtracks compiled of photoplay music and sound effects. Some photoplay music was used as incidental music in early sound films as well. Most theaters, however, threw out entire libraries of music.
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Photoplay magazine complained that all colors were reduced into terms of reds and greens, and that "the story is dull, trite, and drawn out interminably.""The Shadow Stage", Photoplay, December 1917, p. 118.
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The New Brunswick Times ran a review of the "photoplay".
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In 1919 Evans was promoted and relocated to New York City. By 1922, she was the associate editor of Photoplay. Evans wrote seventy-six stories for Photoplay through 1923 until she joined Screenland Magazine.
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It is the realization of a plan that I have studied and worked out for over a year.Chicago, Photoplay Magazine Publishing Company. "The Screens Newest Woman Producer." Photoplay [Chicago, Illinois] 1 July 1921: n. pag. Print.
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The complete filmography of silent serial star Pearl White 1910–24. Photoplay.
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The Bougainville Photoplay Project is a verbatim play by Paul Dwyer and Version 1.0.
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In May 1911, Motion Picture Story Magazine announced that their June issue would contain "a clever photoplay by one of America's best-known women, Alma Webster Powell, LL.B, B.M., M.A., entitled 'The Candidates', in which Women Suffrage and the labor problem are handled skillfully and sympathetically." The photoplay appeared in the June issue as promised under the title "The Rival Candidates," accompanied by photo illustrations. Motion Picture Story Magazine published another photoplay by Powell in March 1912, titled "The First Woman Jury in America." This photoplay was made into a silent film by Vitagraph, released on March 11, 1912, starring Flora Finch.
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"Cal York's Gossip of Hollywood". Photoplay: 35.Fischer, Dennis (2011). Science Fiction Film Directors, 1895-1998.
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Retrieved September 27, 2019. Then, in May, Photoplay provides another, more succinct review to its large readership: "One of the best Buster Keaton has made, with Dorothy Sebastian excellent. Don't miss.""Brief Reviews of Current Pictures: Spite Marriage", Photoplay, May 1929, p. 146. Retrieved September 27, 2019.
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Naldi left the company soon after. Naldi featured in the August 1924 issue of Photoplay, where she is described as “Sloe-eyed, and darkly beautiful”.“New Pictures”, portrait of Naldi by Edward Thayer Monroe with caption, Photoplay, August 1924, page 19. Internet Archive, San Francisco, California.
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"Her Grace and Francis I". Photoplay (Chicago, Illinois), April 1916, p. 29. Internet Archive, San Francisco, California.
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This photoplay attempts to create an impression of movement with the slides changing once every 15 seconds.
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Photoplay music is incidental music, soundtrack music, and themes written specifically for the accompaniment of silent films.
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The capsule review in Photoplay labeled it "as dull an evening's entertainment as you can find anywhere".
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Photoplay or Magazine is the sixth studio album by Australian rock band Sherbet released in 1977. The album spawn two singles Magazine Madonna and High Rollin'. The album charted at number 4 on the Kent Music Report.Australian Music Database - Sherbet - Photoplay In 1999 the album was remastered to CD.
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In the brief Photoplay review, audiences were warned of boredom and Fazenda was deemed "worthy of better stories".
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Actress Leah Baird wrote the original story and screenplay for this production. She also starred and produced the photoplay.
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Photoplay called Dangerous Corner an "interesting experiment", and named the film one of the best pictures of the month.
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Snake Catching in Queensland is a 1911 Australian documentary from the Australian Photoplay Company. It was 600 feet long.
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Albert, Katherine (1930). "Is Jack Gilbert Through?", Photoplay (Chicago, Illinois), February 1930, p. 29. Internet Archive, San Francisco, California.
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Location shooting for the Coney Island scenes cost a reported $150,000."The Shadow Stage". Photoplay. May 1928. Vol. XXXIII. No. 6.
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Henry, William M. (1916). "Her Grace and Francis I", Photoplay (Chicago, Illinois), April 1916, p. 27. Internet Archive. Retrieved May 2, 2020.
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The film received positive reviews. Photoplay wrote that it has "plenty of speed and lots of laughs", and praised the "perfect cast".
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Al Rockett, born Albert L. Rockett, was a movie producer. His 1924 film Abraham Lincoln, produced with his brother Ray Rockett, was a major production. It won the Photoplay Medal of Honor for 1924 from Photoplay Magazine, the most prestigious American film award of the time. He was born in Vincennes, Indiana, and played piano in a nickelodeon theater for five years.
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Delight Evans (1902 – ca. 1985) was an American entertainment writer, editor, and film critic who was most widely known for her career as the editor of Screenland Magazine. Before accepting her career-making position at Screenland, Evans worked for Photoplay Magazine for six years. Screenland and Photoplay were both popular fan magazines that allowed fans to connect with movies outside the theaters.
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Howe was one of the most popular Hollywood news writers of his day during the 1920s and 30s, writing for early film fan magazine Photoplay.
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Braun, Wilbur (1989). Foiled Again: Two Musical Melodramas, p.4. Samuel French. . Composers noted for their photoplay music include John Stepan Zamecnik and Gaston Borch.
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While Variety magazine in 1924 wrote that "It should please the average audience", in 1925 Photoplay magazine described The Foolish Virgin as "silly, uninteresting, tiresome".
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Emil Petaja's Photoplay Edition was the first book published on the subject. Photoplay Edition (SISU, 1975), by the noted science fiction and fantasy author Emil Petaja, was the first book on the subject. Petaja based the book on his collection of photoplays, which at the time of publication numbered more than eight hundred. Petaja had owned many rare examples, including a few autographed by film stars.
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Janet Leigh by Don Ornitz on Photoplay cover, 1955 Don Ornitz (February 29, 1920—January 14, 1972) was a mid-century American magazine and celebrity photographer.
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However, the contest authorities had no intention of making film stars out of the young women that had entered. Because of this disappointment, Delight was not able to break into the movie business at the time. At the age of 15, Delight sent a story she wrote to Photoplay Magazine's editorial office. The magazine bought her story and contacted her, inviting her to visit the editor of Photoplay in Chicago.
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The president of Macfadden, Peter J. Callahan, said the decision to cease publication was made "very reluctantly", but also added the bald observation that "the day of the traditional movie magazine is over". A British version of Photoplay debuted in 1952, and in April 1981 it was rebranded as Photoplay: Movies and Video. It featured an equal mix of American and British films and stars, and ceased publication in 1989.
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6, 1938. In 1911, he became a staff writer for The Moving Picture World. They serialized his Technique of the Photoplay, which was soon published as a book.
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Denton, Frances; Photoplay Magazine; September, 1920; pp. 68-69; accessed September 18, 2012Mary Hay Hastings, Ex-Follies Star Dies. Oakland Tribune (Oakland, California); Tuesday, June 4, 1957; pg.
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The American fan magazine Photoplay, first published in 1911, originally presented short stories based on popular films of the era. It later adopted a more traditional nonfiction format.
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Front of the first Photoplay Magazine Medal of Honor, created in gold by Tiffany & Co. and presented in 1921 to Cosmopolitan Productions for the film Humoresque (1920) In 1921 Photoplay established what is considered the first significant annual movie award, the Photoplay Magazine Medal of Honor. An actual medallion produced by Tiffany & Co., it was voted on by the readers of the magazine and given to the producer of the year's best film, chosen with an emphasis on (according to Quirk) "the ideals and motives governing its production... the worth of its dramatic message." Though Photoplay only gave the single award for best film, its intentions and standards were influential on the Academy Awards founded later in the decade, and they overlap on Best Picture choices to some extent, though increasingly in the 1930s Photoplay's choices reflected its primarily female audience. By 1939 the Medal of Honor had declined in importance and the award was discontinued that year.
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Petaja's Photoplay Edition is composed of a checklist of books, with each entry detailing the book's movie title (which sometimes differed from the title of the novel), as well as its author, publisher, date of release, the motion picture company which produced the film, its leading actors, and the number of illustrations included within the book. Illustrating Petaja's guide are dozens of dust jackets and scene stills, each of which graced the original editions. Petaja also offers a short prologue, a longer history of photoplay books, and an anecdotal chapter telling the story of the author's involvement in collecting these books. Photoplay Edition has been surpassed by later, more comprehensive, illustrated guides.
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A special Photoplay Edition of the novel was published by A. L. Burt Company, New York, illustrated with four stills from the film.See Project Gutenberg Ebook #25542, far below.
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The Mystery of the Yellow Room ad from 1919 The Scoffer ad from 1920 Unseen Forces ad from 1920 Mayflower Photoplay Company was a small independent company that produced a dozen films over three years, from 1919 to 1922. It was based in Boston. The company worked with filmmakers George Loane Tucker, Allan Dwan , Émile Chautard and Raoul Walsh. Mayflower Photoplay Company made some films for Columbia Films run by Joseph P. Kennedy.
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Key people of United Photoplay Service (L-R): Lai Man-Wai, Lo Ming Yau, Lim Cho Cho, Mei Lanfang, Ruan Lingyu, Sun Yu, and Jeffrey Y.C. Huang (黃漪磋). The United Photoplay Service Company () was one of the three dominant production companies based in Shanghai, China during the 1930s, the other two being the Mingxing Film Company and the Tianyi Film Company, the forerunner of the Hong Kong-based Shaw Brothers Studio.
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Photoplay merged with another fan magazine, Movie Mirror, in 1941; and with TV-Radio Mirror in 1977, when the name became Photoplay and TV Mirror. The magazine published its final issue on April 15, 1980. In a sign of changing times, the cover photo featured not movie stars but two television actresses, Victoria Principal and Charlene Tilton. The skeleton staff of six people were all transferred to Us magazine, which Macfadden Publications had recently acquired.
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The Lost Aviator was produced by Noni Couell and Andrew Lancaster in Association with Porchlight Films and Photoplay Films. It was shot over 4 years in Australia, England, USA, France.
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29, Iss. 25, (Jun 23, 1917): 58. Victor Kremer managed his W. H. Clifford Photoplay Company film production business. It produced several Shorty Hamilton westerns and planned to produce more.
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Photoplay commented, "Bill Haines' starring vehicle...treats everything in a humorous vein in the beginning, getting many laughs."Quirk, Lawrence J.. The Films of Joan Crawford. The Citadel Press, 1968.
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Ben Turpin and a type of photoplayer instrument, June-August 1922 The photoplayer is an automatic mechanical orchestra used by movie theatres to produce photoplay music to accompany silent films.
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Some filming took place at the Marble House, a mansion located on a hill above 215th Street in New York."'On Location' -- East Coast and Metropolitan." Photoplay Magazine, Dec. 1916, Vol.
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Daydream of a Photoplay Artist is a 1912 silent film dramatic short starring Francis X. Bushman. It was produced by the Essanay Film Manufacturing Company and distributed through General Film Company.
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In some relevant works, fanzines are called "fan magazines", possibly because the term "fanzine" is seen as slang. American examples include Photoplay, Motion Picture Magazine, Modern Screen, Sports Illustrated and Cinefantastique.
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See for example works published in: Erno Rapee, Motion Picture Moods for Pianists and Organists (New York: G. Schirmer, 1924), S. M. Berg, Cinema Incidental Series (New York: Belwin, 1918-), Capitol Photoplay Series (New York: Robbins-Engel, 1925), Artist's orchestra repertoire: Photoplay series (New York: Ross Jungnickel, 1922-1924). He had been living at 35 Van Wagenen Avenue, Jersey City, New Jersey, when he died on July 30, 1926. He was survived by his wife Jeanne.
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Upon meeting Evans, the editor was taken aback by her young age. Nevertheless, he was impressed with her work and he offered her a position at Photoplay as an entertainment writer for movies. Evans, despite being enrolled at Fort Wayne High School where she wrote for the school newspaper, accepted the offer and began working on the editorial staff of Photoplay in December 1917. r. Her first published articles were on Douglas Fairbanks and Mary McAllister.
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The site originally hosted T&D; Photoplay, the first theater in Stockton. Fox West Coast Theaters leased T&D; Photoplay and renamed it The California in 1921. The building was demolished in 1929 and a new theater was built. The theater has a two-story rotunda with a circular mezzanine, a theater with mezzanine seating and a capacity for 2500 people, a stage that is high, and a lower level with choir rooms, band rooms, offices, and dressing rooms.
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Typically, photoplay editions of the 1920s and 1930s contained stills and/or a dust jacket featuring artwork or actors from a film. Deluxe editions might also contain a special binding, illustrated end papers or, rarely, a written introduction by the star of the film. Sometimes, the spine or cover of the book will note the edition is a "photoplay edition." Illustrated movie tie-in books continued to be published though the 1940s, 1950s, and into the 1960s.
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Sylvia Poppy Bremer was born on 9 June 1897 in the Sydney suburb of Double Bay, to Frederick Glasse Bremer and Jessie Bremer (née. Platt).In later years she was to claim her father was Captain of HMS Powerful, flagship of the Royal Navy's Australian Squadron, and her uncle the commander of the British cruiser HMS Queen Mary. See Photoplay, 1 Sep 1918 – 31 Dec 1918, Chicago, Photoplay Magazine Publishing. "The Daughter of the Powerful" by Julian Johnson.
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He moved to Hollywood in 1933, where he moonlighted as a story editor for Darryl F. Zanuck's Twentieth Century Pictures. The New York Daily Mirror hired him away from the Daily News in 1937, and he moved to the New York Post in 1943. United Features syndicated his column to other newspapers. He also had a regular column in Photoplay, the country's premiere movie magazine. His Photoplay column was bylined "From a Stool at Schwab’s", the Hollywood drugstore he made famous.
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In 1955 Conant was commissioned by Photoplay magazine to do a cover shoot with Grace Kelly, then a leading film actress. Following the Photoplay shoot, Kelly holidayed in Jamaica, with her sister, and invited Conant. He photographed her without makeup in a naturalistic setting, a departure from the traditional portrayal of actresses. The resulting photographs were published in the June 24 issue of Collier's magazine, with a celebrated photo of Kelly rising from the water with wet hair making the cover.
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Mordaunt Hall, critic for The New York Times, wrote that "Adventure, romance, mystery and brotherly affection are skillfully linked in the pictorial translation of Percival Christopher Wren's absorbing novel, 'Beau Geste'". He also complimented many of the principal performers: Colman ("easy and sympathetic"), Joyce ("charming"), Trevor ("effective") and Powell ("an excellent character study of Boldini"). Beau Geste won the Photoplay Medal of Honor, presented by Photoplay magazine, one of the industry's first awards recognizing the best picture of the year.
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Sylvia had a column in Photoplay magazine, covering beauty tips, celebrity beauty issues and eventually reader's problems. The column began in February 1932 and went through various editorial changes for the next four years.
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A reviewer for Photoplay described China Slaver as a "rather ragged production attempting epical heights", but "handicapped by an overly-fantastic story and amateur direction." However, he also lauded Sojin for his "excellent" and "inscrutable" performance.
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Elwood's Fantastic Fiction biography claims that he has sold "a thousand articles and a few short stories" to publications including Ladies Home Companion, Mike Shayne's Mystery Magazine, Edgar Wallace Mystery Magazine, Photoplay, Grit and Weekly Reader.
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Between 1916 and 1917, the studio was rented by Fox Film. In 1920 the United States Photoplay Corporation used it for the film Determination. In 1923, Peter Jones produced the film How High Is Up?.Koszarski, Richard.
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According to a 1920 profile, Wood also wrote plays "in collaboration with he father and with Samuel Merwin.""That Very Promising Young Author", Photoplay, January 1920, p. 84. She was a member of the Algonquin Round Table.
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In October 1929, Bow described her nerves as "all shot", saying that she had reached "the breaking point", and Photoplay cited reports of "rows of bottles of sedatives" by her bed.Shirley, Lois. "Empty hearted", Photoplay (October 1929), p. 29. Argentinean magazine (1934) According to the 1930 census, Bow lived at 512 Bedford Drive, together with her secretary and hairdresser, Daisy DeBoe (later DeVoe), in a house valued $25,000 with neighbors titled "Horse-keeper", "Physician", "Builder". Bow stated she was 23 years old, i.e., born 1906, contradicting the censuses of 1910 and 1920.
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"Around the Traps" section - page 54. Hoping to achieve further international success, from 1977, Sherbet spent several years trying to make an impact in the US. Their 1977 album Photoplay was retitled Magazine for US release, and featured an elaborate gate-fold packaging. Though Photoplay and its lead single, "Magazine Madonna", were successful in Australia – both reached No. 3 on their respective charts – the retitled Magazine LP failed to chart in the US as did the associated single. In the same year Sherbet provided the soundtrack for the buddy comedy, High Rolling.
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"The Microphone—The Terror of the Studios": December 1929 Photoplay cover featuring an Earl Christy portrait of Norma Talmadge, whose career did not survive in the sound era Photoplay reached its apex in the 1920s and 1930s and was considered quite influential within the motion picture industry. The magazine was renowned for its artwork portraits of film stars on the cover by such artists as Earl Christy and Charles Sheldon. Macfadden Publications purchased the magazine in 1934. With the advancement of color photography, the magazine began using photographs of the stars instead by 1937.
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In August 1922, writer Cal York of Photoplay commented on the actor's appearance in the above film still: "...is Rodolph Valentino wearing a wig in 'Blood and Sand,' or did he permit his slick hair to be coiffed into the curly mop you see under this Spanish cap? Cheer up—it's only temporary. Later on in the picture he looks more like Julio."(1922). "Plays and Players" Photoplay By "Julio", York is referring to Valentino's character in The Four Horsemen of the Apocalypse, who has slicked-back hair.
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This film is about a young composer who is tempted to marry for money. He dreams (literally, falls asleep and dreams) of a nightmare of his life as the husband of a rich woman. From Photoplay magazine, 1925.
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Between 1916 and 1917, the studio was rented by Fox Film Corporation. In 1920 the United States Photoplay Corporation used it for the film Determination. In 1923, Peter Jones produced the film How High Is Up?.Koszarski, Richard.
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Gilmore left the theater in 1933. She became affiliated with Liberty. In 1938 she was appointed editor of Movie Mirror Magazine, a Macfadden publication. She became editor of Photoplay in 1941 after the periodical merged with Movie Mirror.
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Although it was reported in the press that there were plans to film the story,York, Cal., “Plays and Players,” Photoplay Magazine, New York, New York, November 1920, Volume 18, Number 6, Page 102. this never came to pass.
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Born in Charlotte, Michigan, Morey began acting career on the stage.Silent Ladies & Gents. Photoplay: Famous Film Folk (1925) In 1909, Morey joined the Vitagraph Film Company, making him a member the original Vitagraph stock company of actors.Silent Ladies & Gents.
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The Photoplay reviewer commented that Neilan's "human touch ... however obvious and conventional it may become, is usually effective". The New York Times critic noted the "deliberateness" that led to a deficiency in "genuineness", especially in the dramatic and action scenes.
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Jenny Lynn (born 1953, Tampa, Florida), is an American photographer. She works and lives in Philadelphia, Pennsylvania. Her 2004 monograph, "PhotoPlay," features photographs, collages, and photograms from thirty years of work. The book's introduction is by novelist and editor Richard Burgin.
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Lobby card Photoplay commented, "The story is absorbing and Joan is simply grand!" The New York Times noted, "Miss Crawford and Miss Prevost are very good in their roles."Quirk, Lawrence J.. The Films of Joan Crawford. The Citadel Press, 1968.
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Mysterious Burglar Music, intended for photoplay musicians use, by Zamecnik (1913), Vol. II, p.16. Accessed: September 28, 2015. John Stepan Zamecnik (May 14, 1872 in Cleveland, Ohio - June 13, 1953 in Los Angeles, California) was an American composer and conductor.
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Publishers junked overstock or used it as scrap paper. In recent years, photoplay music has been revitalized through home videos and live performances of silent films. Many videos of silent films have premiere or cue sheet scores recorded for posterity.
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She eventually became a consultant at the Palmer Photoplay Institute, and worked as a development executive, evaluating scripts and making them more commercial. She died on September 23, 1938, in her Cheviot Hills, Los Angeles, home after a brief illness.
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Also in 1962 she appeared in the quasi-historical film Tower of London with Vincent Price. Her work to that point was enough to gain her a Photoplay Gold Medal nomination from Photoplay film magazine as Most Promising New Star (Female). That was followed up by being named as a Hollywood Deb Star in 1963. In 1963, Freeman was cast as American tourist Amelia Carter in The Three Stooges Go Around the World in a Daze. In 1964, Freeman played the role of Elizabeth Dunn secretary to Dr. James Stone in the episode "Behold Eck" in the TV series The Outer Limits.
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Bogart, Garfield, and Robinson later wrote articles stating that they were "duped" into supporting the Hollywood Ten (both Garfield and Robinson were later blacklisted). The March 1948 issue of Photoplay included an article by Bogart, entitled "I'm No Communist"."I'm No Communist", Photoplay (March 1948) In this article, he claimed that he and other members of the Committee did not realize that some of the Hollywood Ten actually were Communists. Bogart, one of the biggest Hollywood stars of his time, was attacked by many liberals and fellow travelers for supposedly selling out to save his career.
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DeMarchi was born in Perth, Western Australia to Walter and Shirley DeMarchi and has three older siblings; her sister Denise is also a singer. DeMarchi began her singing career in the early 1980s when she was 17, playing in local band Photoplay.
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At that time it was common practice for Edison to gather and hire people living and working nearby, to "pick up drivers, cartmen, anyone as an extra"."Marc MacDermott: Movie '49er", Photoplay (Chicago, Illinois), October 1917, p. 104. Internet Archive. Retrieved June 8, 2020.
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Rolin Studio in Los Angeles also worked with Pathé. The company's Hands Up serial included a storyline featuring the Inca. The studio produced Pathé's photoplay films including Stranded in Arcady. It was an adaptation of a story by Francis Lynde and starred Irene Castle.
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Pallas and Oliver Morosco Photoplay Company used the same studio and personnel. In 1916 Pallas and Morosco became part of Famous Players-Lasky. Paramount Pictures distributed their films and eventually took over the studio. Lenore Ulric was a star in some of their films.
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While not complimentary of Bushman's performance, Photoplay felt that this film was "...one of the best feud stories the screen has recorded." They felt the exterior shots were magnificent, and found the performances of the supporting cast, particularly that of J. W. Johnston, were exemplary.
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He received, among others, the Los Angeles Examiner Award, the Boxoffice Blue Ribbon Award for the Best Picture of the Month (January 1957), the Photoplay Achievement Award, and The Christian Herald's Reader's Award for the Picture of the Year (1957). The Maryland State Council of the American Jewish Congress awarded the Stephen S. Wise Medallion to DeMille for "most inspiring film of the year." Charlton Heston, Yul Brynner, Edward G. Robinson, Sir Cedric Hardwicke, Nina Foch, and Martha Scott also received awards for their acting. The film was also included in several of the annual top ten film lists, such as those featured in The Film Daily and Photoplay.
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Whilst at Thames, he met film historian Kevin Brownlow, with whom he was to form Photoplay Productions and work as co-director and producer on several silent film-related projects. These included the Hollywood (1980) series and a restoration of Abel Gance's epic Napoléon, which was performed in 1980 at the Empire, Leicester Square. Brownlow and Gill formed their own company, Photoplay Productions in 1990, in order to continue their restoration work and documentaries on silent cinema. Among the 25 films they restored are Ben-Hur: A Tale of the Christ, The Phantom of the Opera, The Thief of Bagdad and The Four Horsemen of the Apocalypse.
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Physical Culture, Bernarr Macfadden's first magazine, was based on Macfadden's interest in bodybuilding. The launch of True Story in 1919 made the company very successful. Other well-known magazines, such as Photoplay and True Detective, soon followed. Macfadden also launched the tabloid New York Evening Graphic.
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The Gift Girl is a 1917 American silent comedy directed by Rupert Julian based on the story by Harry R. Durant. The film stars Louise Lovely and Emory Johnson. The photoplay was produced by the Bluebird Photoplays. The film was released on March 26, 1917, by Universal.
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"Hall, Mordaunt. The New York Times, film review, October 8, 1929. Photoplay described the film as "a curious one", however recommendable for the performances by Morgan and Joan Peers. The anonymous reviewer, however, thought the two leads, "and some nice camera work, help save a confusing job.
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Good reviews marked the release of this film. Pickford received excellent reviews for his performance which was described as "refreshing" by Photoplay. Mile-a-Minute Kendall was paired with the Mack Sennett comedy short A Battle Royal in some theaters during its original release.The Deseret Evening News.
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A reviewer for Photoplay described it as "Popular entertainment—that and nothing more. But that is enough." The review aggregator website Rotten Tomatoes reported that 88% of critics have given the film a positive review based on 8 reviews, with an average rating of 7.33/10.
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Photoplay named Richard Barthelmess the "idol of every girl in America" in the 1920s. An admirer wrote that "his wonderful black hair and soulful eyes are enough to make any young girl adore him" in 1921.G. C. (1921). "What the Fans Think" Picture-Play Magazine.
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The failure of Birth of a Race caused the company to go deep into debt, adding to the pressures the company felt. Birth of a Race as well as Foster's inability to keep his focus on the company alone brought about the death of The Foster Photoplay Company.
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She also wrote music, including "Within the Walls of China" for piano. This song was featured in presentations of Broken Blossoms (1919). Lively was inspired to write the song after seeing the photoplay of Broken Blossoms. Lively was also known for her songs, "La Clavel," "Pekita" and "Texas" (1926).
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While the short was identified upon its release as a comedy, it was also characterized in several contemporary reviews as a morality lesson and ideal photoplay for "juvenile" audiences."'An Old-Time Nightmare' (Powers)", The Moving Picture World, September 16, 1911, p. 778. Internet Archive. Retrieved June 14, 2020.
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Valentino in fencing gear In 1923, Valentino published a book of poetry titled Day Dreams. He later serialized events in various magazines. With Liberty magazine, he wrote a series entitled, "How You Can Keep Fit" in 1923. "My Life Story" was serialized in Photoplay during his dance tour.
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My Little Boy is a 1917 American silent drama directed by Elsie Jane Wilson based on the story by Rupert Julian with the scenario written by Elliott J. Clawson. The film stars Zoe Rae, Ella Hall and Emory Johnson. The photoplay was released on December 17, 1917, by Universal.
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The film was highly publicized as Talmadge's first talkie. The film, however, received generally negative reviews. Variety praised Talmadge's acting, but called the film a "stiff test" for her. Photoplay wrote that her fans would not be disappointed with her voice, but stated the story was "full of hokum".
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The Right to Be Happy is a 1916 American silent Christmas fantasy film directed by Rupert Julian, based on the novel A Christmas Carol by Charles Dickens. Starring Julian and Claire McDowell, the photoplay was produced by the Bluebird Photoplays and released on December 15, 1916, by Universal.
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The Female Highwayman (also cited as Female Highwayman) is a lost 1906 American silent crime film. Produced in Chicago by Selig Polyscope Company, the motion picture was directed by Gilbert "Broncho Billy" Anderson.Selig, William N. (1920). "Cutting Back: Reminiscences of the Early Days", Photoplay (Chicago), February 1920, p. 45.
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David Quinlan is an English film critic, journalist, film historian and author. Quinlan was the film critic for TV Times from 1972 to 2006. Other contributions to film periodicals include Films Illustrated, Photoplay, Films and Filming and Film Review. (author notes) He co-edits the film review website PicturesThatTalk.
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He appeared in at least 44 feature films. His great- grandfather Phillip Livingston signed the Declaration of Independence and he was also related to Robert Livingston who helped negotiate the Louisiana Purchase. In 1916 he was identified as Myrtle Stedman's new leading man at Oliver Morosco Photoplay Company.
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"The Shadow Stage", review of Dr. Jekyll and Mr. Hyde, Photoplay (New York, N.Y.), June 1920, p. 66-67. Internet Archive. Retrieved November 3, 2018. Some of those reviewers, like the title characters in the film, were "split", harboring both decidedly positive and negative opinions about the production.
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Photoplay published the writings of Lillian Day, Sheilah Graham, Hedda Hopper, Dorothy Kilgallen, Hazel MacDonald, Louella Parsons, Adela Rogers St. Johns, Rob Wagner, later editor and publisher of Rob Wagner's Script, and Walter Winchell, among others. The magazine was edited by Quirk until 1932; later editors include Kathryn Dougherty, Ruth Waterbury, and Adele Whiteley Fletcher. It also featured the health and beauty advice of Sylvia of Hollywood, arguably the first fitness guru to the stars. Sidney Skolsky, a nationally syndicated gossip columnist for the New York Daily News and later the New York Daily Mirror, had a regular column in Photoplay called "From A Stool At Schwab’s", the Hollywood drugstore he made famous; such was the magazine's popularity.
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She went from a finishing school directly into movies. In ' (1920) she played the character of Mary Holmes in a photoplay written by Upton Sinclair. The setting is the "Oriental underworld" of New York City. Chapman dons twenty-two gowns in all, ranging from filmy negligee to elaborate fur-trimmed costumes.
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By 1917 it had built up a circulation of over 200,000. Along with Photoplay, Screen Play and Screen Romances, it was one of the more memorable film magazines of the first half of the 20th century. Picture Play ended its publication run when it merged with Charm Magazine in 1941.
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Photoplay commented that the film was "A good story loaded with plot complications and blurry character drawings. Even ZaSu Pitts seems more bewildered than usual." Lombard considered the picture one of her worst, and co-star Chester Morris was aware that the film was a "turkey" while they were filming it.
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Oliver Morosco, from a 1916 magazine Oliver Morosco (June 20, 1875 – August 25, 1945) was an American theatrical producer, director, writer, film producer, and theater owner. He owned Oliver Morosco Photoplay Company. He brought many of his theater actors to the screen. Frank A. Garbutt was in charge of the film business.
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Edwin August Phillip von der ButzBorn Edwin August Phillip von der Butz - Photoplay Magazine; January 1915, p. 154 (November 10, 1883 - March 4, 1964) was an American actor, director, and screenwriter of the silent era. He appeared in 152 films between 1909 and 1947. He also directed 52 films between 1912 and 1919.
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Unlike the silent version, the sound remake of Peacock Alley did not boost Murray's career and earned mostly unfavorable reviews. Photoplay called the film "a sorry affair" and Murray's performance "more affected and more bee-stung of mouth than ever. You'll laugh at the drama and weep over the comedy."Kreuger, Miles ed.
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Adela Nora Rogers St. Johns (May 20, 1894 – August 10, 1988) was an American journalist, novelist, and screenwriter. She wrote a number of screenplays for silent movies but is best remembered for her groundbreaking exploits as "The World's Greatest Girl Reporter" during the 1920s and 1930s and her celebrity interviews for Photoplay magazine.
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After the split, she turned to writing. She won several contests in the 1910s, went to work at MGM as a story editor after working for Mr. and Mrs. Sidney Drew. She wrote a string of films through the 1920s, and published a book on screenwriting called Selling Manuscripts in the Photoplay Market.
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"America's Sweetheart" Mary Pickford had built a successful career playing young ragamuffins, but she was interested in playing roles that were more appropriate for her age. Pickford was perhaps the most powerful woman in Hollywood at the time, and as one of the founders of United Artists, she was able to produce and star in films like Rosita and Dorothy Vernon of Haddon Hall. But audiences were still clamoring for her to return to screens as the "girl with the curls." In a 1925 interview with Photoplay magazine, Pickford asked her fans what roles they would like to see her play; Photoplay received 20,000 letters in reply urging Pickford to portray children, with suggestions including Anne of Green Gables, Heidi, and Alice in Wonderland.
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Humoresque was very popular with the film going public and was praised by critics for the realism in its portrayal of New York City ghetto family life. Its success led to the release of several ghetto life films from other studios, often with a "long suffering mother" character, which included Cheated Love (1921), The Barricade (1921), The Good Provider (1922), Hungry Hearts (1922), Little Miss Smiles (1922), Solomon in Society (1922), Salome of the Tenements (1925), Souls in Exile (1926), Jake the Plumber (1927), and East Side Sadie (1929). Humoresque was the first film to receive the Photoplay Medal of Honor, the first motion picture award, preceding the Academy Awards by nine years. Recipients of the award were selected by the two million readers of Photoplay magazine.
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In the film, Lingham portrays Sir Thomas Holstead; Goodrich, the character Lady Holstead."The Diamond Runners (1916)", catalog, AFI. Retrieved September 18, 2019. That same year, in its July 8 issue, the "photoplay" critic for Motion Picture News gives a complimentary review to the Western Medicine Bend, Signal's sequel to its popular release Whispering Smith.
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Showgirl in Hollywood received good reviews. Photoplay called the film Alice White's best sound film and described it as "first-rate entertainment, in spite of a soggy spot or two."Kreuger, Miles ed. (1974) The Movie Musical from Vitaphone to 42nd Street as Reported in a Great Fan Magazine (New York: Dover Publications) p. 188.
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Comstock ventured into film. The F. Ray Comstock Film Corporation released Evidence in 1915, a silent film drama. In 1916 the F. Ray Comstock Photoplay Company released The Lottery Man, a silent feature based on the play of the same name by Rida Johnson Young. Comstock co-produced the film with Leopold and Theodore Wharton.
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Beauty in Chains is a 1918 American silent drama film directed by Elsie Jane Wilson based on the novel Doña Perfecta by Benito Pérez Galdós.Progressive Silent Film List: Beauty in Chains at silentera.com The film stars Ella Hall and Emory Johnson. The photoplay was released on March 11, 1918, by the Universal Film Manufacturing Company.
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The Dramatic Mirror called it "a photoplay of remarkable direction, excellent acting ... and perfect photography". The reviewer for Motion Picture News wrote: "There are enough elements in this feature to please every type of picturegoer." Positive reviews appeared in trade papers Variety, Wid's, and the Exhibitors Herald. Some of the positive reviews were conditional.
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Minta Durfee, cover of Photoplay, December 1915 After the trials, Hollywood shunned Arbuckle, and he could no longer find work. A secondary effect, for archive history, was the determined destruction of copies of films starring Arbuckle. In November 1923, Minta Durfee filed for divorce, charging grounds of desertion. The divorce was granted the following January.
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Photoplay, 'Chris George: I Married My Best Friend,' by Milburn Smith, p. 38, November 1967. George did not speak English until he was six years old, because his family only spoke Greek at home.Boxoffice Magazine, 'Former Miamian Chris George has been at the Four Ambassadors Hotel in Miami to Plug his latest Film,' p.
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In 1913, the company bought Melie's Motion Picture Studio. Vaudevillian Glen Cavender began his film career with the company. Cinematographer John F. Seitz followed Flying A executive Gilbert P. Hamilton to the company. In 1914, the company was contracted by the St. Louis Equal Suffrage League to produce a photoplay advancing the suffragist cause.
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University Press of Mississippi. A Special Relationship: Britain Comes to Hollywood and Hollywood Comes to Britain. Chp. 5. After the movie was produced in 1921, Unsell moved back to New York to start her own company, Eve Unsell Photoplay Staff, Inc., the only company of its kind at the time headed by a woman.
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In 1912 Villiers managed Lytton's Picture Stadium in Orange. Villiers started working in films for the Australian Photoplay Company for whom he was one of their main actors. He then made a series of films for the Fraser Film Release and Photographic Company. In 1914 he toured for 12 months with the Oliver Dramatic Company.
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Her autobiography, From Under My Hat (Doubleday, 1952) was followed by The Whole Truth and Nothing But (1962), also published by Doubleday. She remained active as a writer until her death, producing six daily columns and a Sunday column for the Chicago Tribune syndicate, as well as writing articles for celebrity magazines such as Photoplay.
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He would also be a stockholder in the publication. Other prominent magazines of the era to feature his work were Collier's, Photoplay, Vanity Fair, Judge, and Harper's Bazaar. While many would be published unsigned, there was no mistaking Barton's unique style. Ralph Barton would illustrate one of the 1920s most popular books, Gentlemen Prefer Blondes.
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In 1947, she won both the Photoplay Award and the Look Magazine Award for her work. She and her second husband, Allen Rivkin, wrote a number of scripts together, as well as a book about the film industry called Hello, Hollywood! She died on May 1, 1991, in Woodland Hills, California, after suffering a stroke.
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Rudolph Valentino in a costume designed by Natacha Rambova. This film was one of Valentino's most commercially and critically unsuccessful motion pictures. Photoplay described it as "The glamorous Rodolph Valentino's latest—and worst—vehicle." The film is perhaps best remembered today for its elaborate and suggestive costumes, which were designed by Valentino's wife Natacha Rambova.
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The Foster Photoplay Company was a film production company based in Chicago, Illinois. It was founded in 1910 by William FosterDoc Films screening pre-1950s ‘race films’ that students will be discussing in seminar, the University of Chicago Chronicle, by Carrie Golus, Jan. 10, 2002 Vol. 21 No. 7 (retrieved March 13, 2011) (also known as Juli Jones).
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The Barber was released in 1916 by the Foster Photoplay Company. It was advertised as being a big action comedy picture, a first for the production company. The Barber focuses on a customer in a barbershop by the name of John Willis. John speaks loudly about wanting to find a Spanish music teacher for his wife.
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See photo of gravestone: Photo of Gravestone of Helen Holmes. While there is uncertainty about her place of birth, Holmes stated in an interview that she was born on a farm in South Bend, Indiana,Photoplay 7 (1914):54. but grew up in Chicago, Illinois. A 1917 article indicates Holmes was born on her father's private railroad car, "Estevan".
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The film contained lavish sets and extravagant costumes, though Photoplay magazine said the film was "a little unreal and hectic." Released in 1922, the film was a critical disappointment. Years after its release, Beyond the Rocks was thought to be lost, save for a one-minute portion. But in 2002, the film was discovered by the Netherlands Film Museum.
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It received good reviews from The New York Times, which called it "one of the best screen tricks ever incorporated in a comedy",The New York Times. Film review, May 26, 1924. and Photoplay, which called it "rare and refreshing." Other positive notices came from The Los Angeles Times, The Washington Post and The Atlanta Constitution.
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Fairbanks, Mary Pickford Rupp (daughter of Lottie Pickford) and Mary Pickford. December 1921 Photoplay, Page 80. On an unknown date in 1915, before the release of The Diamond from the Sky, Pickford quietly married New York broker Alfred Rupp. The couple had a daughter in 1915, Mary Pickford Rupp (1915-1984), who later was renamed Gwynne Rupp.
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This was the first film made in Australian by the Gaumont Company, trading as "The Gaumont Agency". Other sources however say it was some the Australian Photoplay Company – who were bought out by Gaumont. Another says it was from "Gaumont Federal Films", an amalgamation of Gaumont and APPC. The script was written by Jack Allen of Wollongong.
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Rio Rita was a box-office success. Earning an estimated profit of $935,000, it was RKO's biggest grossing film of 1929. It was also generally well received by critics. In its review of the film at the time, Photoplay praises it as nearly "the finest of the screen musicals" and commends director Reed for managing well a "difficult assignment".
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Special Agent was one of three 1935 films co-starring Bette Davis and George Brent, who appeared on-screen together a total of thirteen times. Neither was happy with the finished product. Brent told Ruth Waterbury of Photoplay that the picture was "a poor, paltry thing, unbelievable and unconvincing." At the behest of the Warner Bros.
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Greye La Spina (July 10, 1880 – September 17, 1969) was an American writer who published more than one hundred short stories, serials, novelettes, and one- act plays. Her stories appeared in Metropolitan, Black Mask, Action Stories, Ten-Story Book, The Thrill Book, Weird Tales, Modern Marriage, Top-Notch Magazine, All-Story, Photoplay, and many other magazines.
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In 1910 she married Baron Robert La Spina, an Italian aristocrat. Her first supernatural story, "The Wolf on the Steppes" was sold to Thrill Book in 1919. She won second place in Photoplay magazine's 1921 short story contest gaining her a $2,500 prize. Her first book, Invaders from the Dark, was published by Arkham House in 1960.
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"It is a riot of fun," said a reviewer for Photoplay, "and boasts a first-rate story, too. He can ever be depended on to add fresh material to his laughing-stock. Mildred Davis is, as always, a pleasing foil." Against a budget of just over $77,000, A Sailor-Made Man grossed $485,285, making it a surprise hit.
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"Special Announcement" (1915). At the time, the Princess was considered a showpiece of elegance and modernity. It was the first building west of Winnipeg to be faced with marble. The Edmonton Journal remarked on the quality of the “photoplay house’s” finishings, remarking on the solid marble facade, frescoes, brass mirrors and the abundance of gold leaf decoration.
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The winner that year was Cleopatra. Tippi Hedren received the Golden Globe Award for New Star of the Year – Actress in 1964, sharing it with Ursula Andress and Elke Sommer. She also received the Photoplay Award as Most Promising Newcomer. The film ranked No. 1 of the top 10 foreign films selected by the Bengal Film Journalists' Association Awards.
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This effect has been replicated by computer colorization in the 1996 restoration by Kevin Brownlow's Photoplay Productions. As with many films of the time, black-and-white footage was tinted various colors to provide mood. These included amber for interiors, blue for night scenes, green for mysterious moods, red for fire, and yellow (sunshine) for daylight exteriors.
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Black Film, White Money. New Brunswick: Rutgers University Press, 1996, 14. Slapstick comedy, in which the humor derived from characters making a complete fool of themselves, was a comedic genre typical at the time of silent films. The Foster Photoplay Company helped set up the tradition of black comedies and also established Foster’s place in the film industry.
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This was the 4th time Hollywood had turned a Bret Harte story into a movie. After his death in 1902, they would turn 14 stories into films. left Olga Charlotte Printzlau wrote the scenario for this photoplay. Her scenario used most of the characters in the original play, but her pacing was different along with her sequence of events.
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In 1990, together with Kevin Brownlow and David Gill, Stanbury established Photoplay Productions. He served as Associate Producer on all Photoplay's early work. When Gill died in 1997, Stanbury and Brownlow continued programme-making together, with Stanbury assuming responsibility for producing, as well as taking over Gill's role in charge of video and music preparation for the feature restorations.
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The Kansas International Film Festival (KIFF) is a non-profit Kansas-based organization that promotes independent and vintage cinema through film expos. The festival is held every fall. In 2001, KIFF received a 501(c)(3) designation under the corporation name of Photoplay, Inc. Photoplay's board of directors consists of filmmakers, file distributors, educators, theatre owners, and film historians.
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In the time before the Foster Photoplay Company was established, there was very little film that showed African Americans in a non-negative, or even human, fashion. Nearly all African American characters in film and on stage were over-exaggerations of well known black stereotypes, and were often white actors wearing black makeup. Because of the state of African Americans in film, there was a very minute amount of positive aspects that could have inspired William Foster to enter the film industry and create the Foster Photoplay Company. Therefore, most of the inspiration for founding the company came from anger at the way his own people were represented in plays and movies and anger at the black performers who used the negative stereotypes as the outline for the characters they played.
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According to Ben Mankiewicz, who hosted a televised presentation of the film by Turner Classic Movies in 2018, the production was poorly received by critics and audiences in 1925. However, Mordaunt Hall of The New York Times gave the film a favorable review that year, writing "'The Wizard of Oz' can boast of being the type of rough and tumble farce that sends bright faces from the theatre." The Chicago-based publication Photoplay, one of the first American fan magazines devoted to the film industry, highly recommended the adventure comedy to its large readership in 1925, warning "If you don’t take your children to see this, they will never forgive you."The Wizard of Oz—Chadwick Picture, "Shadow Stage: A Review of New Pictures", Photoplay (Chicago, Illinois), June 1925, p. 49.
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" Intensely patriotic, Lewis was a liberal thinker, editorializing against church censorship of films, and in the December 17, 1938 issue lashing out at a Photoplay article critical of "movie stars who are not married but commit the horrible crime of living in homes close to or next to each other." In December 1938, Photoplay published, "Hollywood's Unmarried Husbands and Wives." In it, Clark Gable and Carole Lombard, along with Robert Taylor and Barbara Stanwyck, among others, were called out for "behaving like they are married", even though they were not. Lewis wrote, "Fan magazines appear to be run by people who have a tough time trying to find nice things to write about so go out of their way seeking nasty, and in many instances, libelous things to print.
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Once the Foster Photoplay Company went under after 1913, even with all its success, Foster relocated. At one point he even sent reels of his films overseas to the men fighting in World War I, so they could see what he was trying to do back home in the States to help the fight for racial equality. During the 1920s, he moved to Los Angeles to produce musical shorts of black entertainers for Pathe Studios, and then tried to establish a second incarnation of his film production company. However, around this same time, silent films were beginning to be overshadowed by the introduction of sound in the movie industry, and Foster's second shot at the Foster Photoplay Company went out of business before it even produced its first film.
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Sills died unexpectedly of a heart attack in 1930 while playing tennis with his wife at his Brentwood home in Los Angeles, California at the age of 48. He was interred at the Rosehill Cemetery and Mausoleum in Chicago, Illinois. In December 1930, Photoplay published a poem found among his personal effects. He was a founding member in 1913 of Actors' Equity.
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The unkind cover of Photoplay, December 1929, featuring Norma Talmadge. As movie historian David Thomson puts it, "sound proved the incongruity of [her] salon prettiness and tenement voice."Thomson (1998), p. 732. While the introduction of sound led to a boom in the motion picture industry, it had an adverse effect on the employability of a host of Hollywood actors of the time.
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In 1911, Edwin Thanhouser had obtained actress Florence La Badie, who would become Thanhouser Corporation's most profitable film star. In 1914, Hite cast La Badie in the serial The Million Dollar Mystery, which would become highly successful. By mid-1914, Hite was listed by Photoplay magazine as one of its twelve featured millionaires. During this period, Thanhouser Film Corporation was at its height.
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Advertisement, Photoplay, March 1929, p.4 It stars the noted stage actress Jeanne Eagels and O.P. Heggie, and it was directed by Jean de Limur. The film was adapted by Garrett Fort from the 1927 play The Letter by W. Somerset Maugham. It tells the story of a married woman who kills her lover out of jealousy and is brought to trial.
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A scene from the film, featuring Mulhall and Mackaill. Their successful pairing in Subway Sadie led to them appearing in several other films. First National Pictures handled distribution for Subway Sadie, with the film premiering in New York on September 12, 1926. It received positive reviews; a journalist for The New York Times enjoyed the film, calling it "an amusing photoplay".
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A Splendid Hazard is a 1920 American silent drama film directed by Allan Dwan and starring Henry B. Walthall. The film is based on the 1910 book of the same name. The film was produced by the Mayflower Photoplay Company.imdb.com, A Splendid Hazard, 1920 It is not known whether the film currently survives;Progressive Silent Film List: A Splendid Hazard at silentera.
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He spent some time in Europe in 1906 as conductor of the Lausanne Symphony Orchestra. He conducted the Grieg Jubilee Concerts in New York in 1907. He was for a time a faculty member of the Pennsylvania College of Music. Between 1916 and his death Borch was a prolific composer of photoplay music; short, stock pieces designed to evoke a particular mood.
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Born in New York City to Austrian immigrant parents, Frank Lehr and Emilie Freisinger, Anna Lehr filmed Civilization's Child (1916) for Thomas Ince, a Triangle-Kay Bee feature. The screenplay was written by C. Gardner Sullivan."Smashing Photoplay", Ogden Standard, June 3, 1916, p. 9 There is a scene in which Russian cavalry charge over her as she lies prostrate on the ground.
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Photoplay, 'Why We Waited So Long,' by Lisa Reynolds, p. 100, November 1970. In November 1967, the USO and the Air Force sent him and several other Hollywood celebrities to visit a military hospital in San Antonio, where military personnel returning from Vietnam with serious burns were being treated.Waterloo Daily Courier, Waterloo, Iowa, 'Hollywood Closeup: From Star to Saleslady', p.
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Photoplay called the film "a bitter disappointment... Cruze seems to have lost his sense of humor, and the lighting and scenario are terrible."Kreuger, Miles ed. The Movie Musical from Vitaphone to 42nd Street as Reported in a Great Fan Magazine (New York: Dover Publications) p 111. The New York Times review commented unfavorably on the technical quality of the color sequences.
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Lawrence J. Quirk was born in 1923 at Lynn, Massachusetts. He is the nephew of James R. Quirk, former editor and publisher of the now-defunct Photoplay magazine. He was an army sergeant in Korea, a reporter for the Hearst papers, and a film magazine editor and publisher. Quirk has been a film critic, writer, and editor for many publications.
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He is best known for the "photoplay music" he composed for use during silent films by pianists, organists, and orchestras. Zamecnik used many pseudonyms, including Dorothy Lee, Lionel Baxter, R.L. (Robert) Creighton, Arturo de Castro, "Josh and Ted", J. (Jane) Hathaway, Kathryn Hawthorne, Roberta Hudson, Ioane Kawelo, J. Edgar Lowell, Jules Reynard, F. (Frederick) Van Norman, Hal Vinton and Grant Wellesley.
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With these connections, he had his foot in the door of the theater industry for years before he started his own film company. In 1910 he founded the Foster Photoplay Company, which is credited as the first African-American independent film company.Berry, Torriano and Venise T. Berry. The 50 Most Influential Black Films: A Celebration of African American Talent, Determination, and Creativity.
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Wallace Beery, Enid Bennett and Douglas Fairbanks listen to a recent invention only widely broadcasting for the previous three years: a radio. Fairbanks as Robin Hood on the cover of Photoplay, illustrated by J. Knowles Hare. Robin Hood generally received favorable reviews. It received an aggregate score of 100% and an Average Rating of 8.6/10 from Rotten Tomatoes based on 7 reviews.
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Washington Theater is a 1480-seat theater built in 1924 to cater to stage and cinema showings. The structure is notable for its influences in Mediterranean and Byzantine architecture. It was remodeled in 1926 following the purchase of the theater to Balaban & Katz. In the years that followed, the theater hosted many vaudeville and photoplay shows, but suffered when films introduced sound.
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"My life, by Clara Bow". Told to and edited by Adela Rogers St. Johns. Published by Photoplay Magazine in February, March and April 1928 Within days of her arrival, she was made part of the studio permanent stock.Morning Avalanche, August 5, 1923 On October 21, 1925, Schulberg's Preferred Pictures filed for bankruptcy, with debts of $820,774 and assets of just $1,420 due to his addiction to gambling.
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The Austral Photoplay Company was a short lived Australian production and distribution company. It was established in Melbourne in 1913 by A. C. Tinsdale and later transferred to Sydney in 1917. It initially sought to raise £10,000 to make a film about the goldfields. It raised funds to make movies via public subscription; people would pay for the right to appear in the film.
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Also, not all film-industry publications supported the photoplay. The Moving Picture World labeled it a "poor imitation" of A Fool There Was and hampered by a "wearisome" plot with overly dramatic scenes that at one point "brought a general laugh from the large audience at a private showing" in New York."'The Devil's Daughter'", The Moving Picture World, June 1915, p. 2120. Internet Archive.
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May Mann (born May Vasta Randall) was a Hollywood columnist and freelance writer. She wrote a syndicated column about Hollywood gossip and wrote articles on celebrities for fan magazines. Her "Going Hollywood" column was syndicated to 400 newspapers, and contributed to movie magazines Movie Mirror, Silver Screen, Movie Teen, Screenland, and Photoplay. Her columns often featured photos of herself with the celebrity she profiled.
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Frances—known as Fanny Mae to family and friends—was born in Anniston, Alabama, in 1891. She was the daughter of Harry Scheuing and Elizabeth Hocking; she had four brothers. The family eventually relocated to New York City, where Frances found employment as a journalist at The New York Telegraph. In 1913, she appeared as an Indian Maid in a photoplay called Picnic in Dakota.
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Francis William Sullivan, who wrote with the nom de plume Frank Williams, was an author. He wrote The Wilderness Trail a novel about the Hudson Bay area that was illustrated by Douglas Duer. It was made into the film The Wilderness Trail starring Tom Mix. The story was originally published in Photoplay Magazine as Glory Road and was followed by a sequel titled Star of the North.
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In contrast to the previous film, the co-stars were relaxed onscreen and singing frequently together. The film integrated Victor Herbert's 1913 stage score into a modern backstage story scripted by Dorothy Parker and Alan Campbell. MacDonald and Eddy played a husband-and-wife Broadway musical-comedy team who are offered a Hollywood contract. Sweethearts won the Photoplay Gold Medal Award as Best Picture of the Year.
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The reviewer enjoyed the performances of Rogers, Foster, Ratoff, McHugh, Pangborn, Pitts and Kennedy. He also saw the irony of the film playing at Radio City Music Hall because it was a satire of the industry. Other reviews were even more enthusiastic. Photoplay called it one of the best films of the month, calling Rogers a "star", and complimenting the rest of the cast.
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Ausführliches Essay zum Film A major box office success, the acclaimed film was voted the 1921 Photoplay Magazine Medal of Honor and is seen by critics and film historians as one of the classics of silent film. It was selected in 2007 for preservation in the United States National Film Registry by the Library of Congress; films selected are judged to be "culturally, historically, or aesthetically significant".
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Delight Evans was born in Fort Wayne, Indiana in 1902. Evans had an interest in movies and entertainment from a young age. In high school, she took part in school activities such as writing for her school newspaper and playing music. At the age of 13, Delight entered the "Beauty and Brains" contest put on by Photoplay magazine in hopes of becoming a film actress.
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Napoleon was one of Channel Four's earliest broadcasts, and many of the films were released on home video. The composer Carl Davis was commissioned to write new scores for almost all of the releases. Thames Silents continued, via Brownlow's Photoplay Productions, since 1990; Thames Television lost its ITV franchise in December 1992. It is no longer used as an imprint by FremantleMedia, the ultimate owners of Thames.
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The theater opened on July 20, 1927, built and operated by four Levin brothers who owned other theaters in the area. It was located in the Portola neighborhood. The theater ran promotions wherein patrons could collect dinnerware, one piece at a time, on a weekly basis. Management changed in the mid-1960s, when the Lyric Photoplay Film Society, under Edward Millington Stout III, took over.
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Photoplay said of the film, "It has its good spots, but is below Buster's standard." A caption at the beginning of the Rohauer Collection print of the film states that when the film's negative was rediscovered in 1954, it was so badly decomposed as to be considered unsalvageable. Subsequent restoration work preserved the film for posterity, although a good deal of damage is still evident.
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An anonymous reviewer for the Philadelphia Bulletin wrote at the time, "except for a bit of slowness in the unwinding of the theme, the cinema version of Coleridge's famous poem is an entertaining photoplay". Another anonymous review in the Public Ledger said the film "is divided into a modern story and an allegory, and it is in the latter that the picture is most realistic and impressive".
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Bing Crosby and Greer Garson were frequently named the most popular film stars during the 1940s and later winners of the title included James Stewart, Jane Wyman, Alan Ladd, Marilyn Monroe, Rock Hudson, and Kim Novak. Most popular television stars were also named in the 1960s. In 1948, the Photoplay Awards were broadcast on network television as part of The Steve Allen Plymouth Show.
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He threatens to attack other firehouses, demanding his car be restored and Conklin be turned over to him. Father is disgusted at the violence but Younger Brother joins Coalhouse's gang with his knowledge of explosives. Ostracized by their own white community and hounded by reporters, Father and Mother leave for Atlantic City. They encounter Tateh, now a film director on a photoplay with Evelyn.
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Expanding the approach of his Hauntings installation, Maddin's ongoing film/installation project, Seances. The film shoots were open to the public and streamed online, and thereby presented as live art installation projects, during which Maddin, along with the cast and crew, held a séance "invit[ing] the spirit of a lost photoplay to possess them."Maddin, Guy, Evan Johnson and Robert Kotyk. Séances: Project Manual.
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Eyton was an owner of the Oliver Morosco Photoplay Company. On February 25, 1922, her son, Victor, died suddenly at the age of 16 from complications of influenza at Good Samaritan Hospital in Los Angeles, and his remains were cremated. Her son was previously enrolled at Harvard Military Academy before he became a student at Hollywood High School. The Eytons eventually divorced in 1931.
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The original name of the photoplay was Swords and Plowshares. Emory Johnson and the cast spent several weeks shooting the movie in the vicinity of the Presidio, San Francisco. The action scenes were filmed near Hollywood. Emory selected an area where the terrain mimicked the European battlegrounds of World War I. To make the battle scenes more realistic, Emory used High Explosives, fake Gas Shells and mines.
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Owen, ca. 1917, Photoplay Magazine Born Signe Auen in Spokane, Washington, she was the youngest of three children raised by Jens Christensen and Karen (née Sorensen) Auen. Her father and mother came from Denmark in the late 1880s and settled in Minnesota where they married in 1888. Within a short period of time they moved to Portland, Oregon and then Spokane, where her father became proprietor of the Columbia Pharmacy.
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In 1910, Bill Foster opened the Foster Photoplay Company. He was unable to continue much farther with the company, and took on other jobs while the company was in operation. Within a year of opening the company, he became an entertainment journalist for the Indianapolis Freeman newspaper using the pseudonym "Juli Jones". Juli Jones quickly gained popularity and Foster started to write for more black newspapers across the country.
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The plot primarily concerns the romantic troubles caused by the character Sylvia Omney when she chooses to marry Captain Desiré Arnaud instead of her long-time friend Richard Farquhar. A subplot concerns Farquhar's father's shady past and the impact it is continuing to have on the life of his son. In 1928 a photoplay edition of the book was released to coincide with the release of The Foreign Legion.
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The Mystery of the Yellow Room is a 1919 American crime drama film made by the Mayflower Photoplay Company and distributed through Realart Pictures Corporation. Émile Chautard was a French actor, director, and producer. Chautard was 55 years old when "The Mystery of the Yellow Room" was released in 1919. The Mystery of the Yellow Room (in French Le mystère de la chambre jaune) was first a novel by Gaston Leroux.
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A contemporary review in Photoplay predicted the film's future: "This new Harold Lloyd farce will became a classic of its kind, or we will miss our guess. For it is the bespectacled comedian's best effort to date." "This is easily one of the big comedies of the year. It is seven-reels in length—but it speeds by with the rapidity of a corking two-reeler," the reviewer concluded.
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The Riviera was a good example of a "transitional" theater as days of the "photoplay parlor" were ending and the movie palace had yet to fully arrive. Further foreshadowing the movie palace, the Riviera featured the organist Casimir Uszler who played an organ valued at $12,000. At one point, there was also a ten-piece orchestra led by Frank Ullenberg. The Riviera contained a fully rigged stage with two dressing rooms.
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After two years of producing, only six comedies were made from a single author, the others from different writers all across America. The Drews bought scenarios only for the idea, believing that no author could "fit [their] particular methods." For McVey, the essential of their ideas needed to be clear and thoughtful, inspired and based on real people and event. "Story must be real", she declared at the Photoplay in 1917.
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He worked for the Los Angeles Times as a cartoonist. His caricatures were nationally syndicated. They appeared in Photoplay magazine beginning with the November 1927 issue, under the byline "de Bru." His older brother, Francis, was an artist of some note, having painted cover art for F. Scott Fitzgerald's novel The Great Gatsby. In 1931 Cugat took his band to New York for the 1931 opening of the Waldorf–Astoria hotel.
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The first photoplay editions were published around 1912, and as a genre, they reached their height in the 1920s and 1930s. Thousands of different titles were issued in the United States. Most photoplays were published in hardback by companies like Grosset & Dunlap or A. L. Burt, and some in soft cover by companies like Jacobsen Hodgkinson. Similar movie related books were also published in England, France and elsewhere.
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The film received mixed reviews. While Photoplay wrote "Conrad Veidt as a magician in a much over-acted and over-directed film", The New York Times on November 8, 1929 wrote: > Director Fejos has handled his scenes with no small degree of imagination. > Mr. Veidt's clever acting and Mary Philbin's captivating charm, this picture > holds one's attention. Moreover, the narrative is developed with a certain > force and skill.
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One example of such a piece is Mysterioso Pizzicato, which appeared in a 1914 photoplay music collection compiled by J. Bodewalt Lampe and whose main motif has endured as a cliche for stealth and villainy in a wide selection of music and films thereafter.Fuld, James J. (2000) The Book Of World-Famous Music, 5th ed. Dover Publications. p. 385 A version of this theme is contrasted with a hero's theme ().
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Still with Paige and Morrison from Photoplay magazine Black Beauty is a 1921 American silent film version of Anna Sewell's 1877 novel of the same name. Black Beauty is an autobiography of a horse, who tells the story of his life and of the people surrounding it.Black Beauty at silentera.com This film exists in an incomplete state with four of seven reels preserved at the Library of Congress.
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A chariot race was also included in an effort to capitalize on the success of a similar scene in The Queen of Sheba. Some scenes required large numbers of extras. Photoplay reported that Edwards's crew avoided potential religious conflict while filming in Jerusalem by having British troops costumed as Arabs. The largest battle scene used fifteen thousand horsemen, who were members of Transjordan's military provided by Emir Abdullah.
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She obtained her first job in 1912 working as a reporter for Hearst's San Francisco Examiner. She reported on crime, politics, society, and sports news before transferring to the Los Angeles Herald in 1913. After seeing her work for that newspaper, James R. Quirk offered her a job writing for his new fan magazine Photoplay. St. Johns accepted the job so she could spend more time with her husband and children.
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Whatever reservations or warnings that film critics may have expressed about Dr. Jekyll and Mr. Hyde, they did not deter throngs of moviegoers in 1920 from seeing what Photoplay predicted would "easily become the most talked of picture of the time." The magazine illustrated that popularity when it reported, "A door and two windows were broken by the crowds that tried to see it on its first showing in New York".
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A newspaper advertisement excerpt for the Globe Co-operative Film Company, Ltd.In 1915, John B. G. Rinehart, a Manhattan attorney and Walter Content, an owner of a Manhattan stock brokerage, purchased stock in a shell company in Arizona, the "Globe Co-operative Film Company, Ltd.". Newspaper ads across America claimed the newly formed company had purchased the assets of the failed Blinkhorn Photoplay Company. Potential investors were urged to purchase stock.
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With director Alex Proyas, Alicajic created a pre-trailer for the 20th Century Fox film I, Robot. In 2008, while with Arithmetic, Alicajic produced a campaign for Foxtel, winning a gold Promax Award. In 2009 he moved from Arithmetic and joined Photoplay. Alicajic collaborated with UK writer Jeff Noon on his IF award-winning script Divine Shadows, which is currently in pre-production for shooting to begin in 2010.
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Trunnelle was born in Dwight, Illinois and died in Glendale, California. Photoplay magazine argued that she was the merry-serious girl whose expressive eyes and face mirror emotions more effectively than a hundred voices. She was educated upon the stage for the five years she had spent in films, mostly before Edison cameras. Miss Trunnelle was a modest, cheerful, winsome young American wife whose husband was Herbert Prior.
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It retains three of Kern's songs ("Look for the Silver Lining", "Sally", and "Wild Rose"). The rest of the music newly written for the film by Al Dubin and Joe Burke. Miller was hired by the Warner Brothers to reprise her role at an extravagant sum (reportedly $1,000 an hour for a total of $100,000).Photoplay, September 1929 The film was nominated for an Academy Award for Best Art Direction by Jack Okey in 1930.
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This effect, as well as a missing color sequence, were recreated in 1996 for a Photoplay Productions restoration by computer colorization (see below). Partial colorization has also been utilized on footage shot in color to enhance commercials and broadcast television to further facilitate the director's artistic vision. As an example, Cerulean Fx provided partial colorization for Dave Matthews Band's music video The Space Between as well as Outkast's music videos Bombs Over Baghdad and Roses.
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Retrieved September 14, 2018. Hall in his review blames that excess on Director William Cowan, whom he characterizes as "obviously not a disciple of restraint". The review of Kongo in the December 1932 edition of Photoplay provides some additional insight into reactions by fan-based publications. Among the nation's oldest movie magazines, the Chicago monthly also found Kongo a misuse of its cast's abilities and an inferior remake of West of Zanzibar.
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318–319 "I opened once a paper and I tell you what was in. It was Rudolph Valentino with a beard upon his chin. My heart stopped off from beating and I fainted dead away, and I never want to come to life until the judgement day," was soon printed in Photoplay. The cast and crew left for Hollywood to begin preparations for the film, but much of the budget was taken up during preproduction.
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He made his motion picture debut in 1921 in a secondary but good role in the Goldwyn Pictures silent film comedy Pardon My French directed by Sidney Olcott. That same year he appeared as Saul "Little Buzzard" Hatburn in Tol'able David, directed by Henry King for Inspiration Pictures. The acclaimed film was voted a Photoplay magazine's medal of honor. Over the next eight years, Yearsley appeared in another twenty films, in secondary or minor roles.
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On the other hand, Photoplay said it was "one of the cleverest ideas to pop into that fertile mind of Walt Disney and results in this rare combination of a Cook's tour of the Disney studio, a behind-the-scenes glimpse of Mickey Mousedom and two of Disney's latest cartoon features... Cleverly thought out and executed." The Reluctant Dragon cost $600,000 to make and returned $960,000 with $460,000 being generated in the U.S. and Canada.
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Macfadden founded Physical Culture magazine in 1899, and was editor up to the August 1912 issue. Aided by long-time Supervising Editor Fulton Oursler, Macfadden eventually grew a publishing empire, including Liberty, True Detective, True Story, True Romances, Dream World, Ghost Stories, the once-familiar movie magazine Photoplay, and the tabloid newspaper, The New York Evening Graphic. Macfadden's magazines included SPORT, a preeminent sports magazine prior to Time Inc.'s Sports Illustrated.
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This ended with Dana's departure from Metro in 1925 in order to go freelance. After her departure, Arnold was given a long-term contract by MGM, where he had been since they opened their west coast studios in 1916. That year Arnold filmed The Big Parade, which won the Photoplay Magazine Medal for best film of the year. The medal is considered the first significant annual movie award, prior to the establishment of the Oscars.
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In the 1923 feature The Shock, starring Lon Chaney, Mayo was compared to Mary Alden in her rendition of Ann Cardington, queen of the underworld; and the same year was also cast as a supporting player in Don't Marry For Money, along with Edith Yorke and Charles Wellesley.Chaney Plays Pulse Teaser At Kinema, Los Angeles Times, June 11, 1923, Page II7.Aimless Plot In Cameo Photoplay, Los Angeles Times, December 23, 1924, Page A11.
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They also restored and released many classic silent films through the Thames Silents series (later via Photoplay Productions) in the 1980s and 1990s, generally with new musical scores by Carl Davis. The Search for Charlie Chaplin (2005; new version: 2010, UKA Press), a making-of book for Unknown Chaplin, was published in 2010. Since David Gill died in 1997, Brownlow has continued to produce documentaries and conduct film restoration with Patrick Stanbury.
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After this first series was over, one interviewer asked McGoohan if he would have liked the series to continue, to which he replied, "Perhaps, but let me tell you this: I would rather do twenty TV series than go through what I went through under that Rank contract I signed a few years ago and for which I blame no one but myself.""Why Danger Man scared me", Photoplay, April 1961, p. 14.
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McEnery was also recognized for having given Hayley Mills her first "grown-up" screen kiss in the 1964 film The Moon-Spinners."The Day Hayley got in a Hearse", Photoplay, August 1964. In 1966, he took the lead in the Disney live action adventure film, The Fighting Prince of Donegal. He played Edwin Clayhanger in the television dramatisation of the novels by Arnold Bennett with support from Janet Suzman, Harry Andrews and Clive Swift.
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Her first non-Vitagraph picture in 1920 was A Child for Sale, directed by Ivan Abramson, where she played a starring role.(18 January 1920). Picture Plays and People, The New York Times ("Gladys Leslie, who recently finished the term of her contract with Vitagraph, has signed up to star in a picture to be directed by Ivan Abramson.") (film was "A Child for Sale")Questions and Answers, Photoplay (June 1920), p.
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Obviously intended to be a sensational sex melodrama, Foolish Wives is at the same time frankly salacious ... Erich von Stroheim wrote the script, directed, and is the featured player. He's all over the lot every minute." While praising the acting as excellent, Photoplay called the film "an insult to American ideals and womanhood". In 1994, film critic Ed Gonzalez discussed the film and wrote "1922's Foolish Wives begins with the perfect iris shot.
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The film was the first production of the Austral Photoplay Company, run by film importer and entrepreneur A.C. Tinsdale. Finance was raised by means of public subscription, offering two shilling shares to the public; buying one hundred shares got you free motion picture tuition and a part in the film. Most of the cast paid to appear in the movie. The movie was shot at a real life ostrich farm in South Head.
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He had previously adapted Ben Carré's stage sets to film for Phantom and had worked with Leni for The Cat and the Canary. Jack Pierce became the head makeup artist at Universal in 1926, and was responsible for crafting Gwynplaine's appearance. During the sequence where Gwynplaine is presented to the House of Lords, the extras were so moved by Veidt's performance that they burst into applause."Gossip of All the Studios". Photoplay.
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He was a skilled sketch artist, which gained him entry, after World War I, into the Art Institute of Chicago starting in 1919 and finishing in 1920. There, he claimed to have "studied painting and learned nothing". After that, he worked as a journalist in Chicago for several newspapers and magazines, including Photoplay magazine. It was during the 1920s that Gene Markey became a writer, specializing in novels about the Jazz Age.
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He jumps out of the window and then is chased by John and the police to a lake, where the barber jumps in and annoys a group of fishermen. The Barber is considered to be one of The Foster Photoplay Company's most three- dimensional films, with themes of disguise, infidelity, and advice against the vices of the inner city. The Barber is an ideal example of Foster's desire to not just entertain, but to educate the public as well.
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The song was recorded by Sousa's Band in 1902 and has been a staple of jazz bands and ragtime pianists into the 21st century. He also collected,Fuld, James J. (2000) The Book of World-Famous Music, 5th ed. Dover Publications. p. 385 and may possibly have composed, Mysterioso Pizzicato, the piece of photoplay music whose main motif became a standard cue for stealth and villainy and has seen "hundreds of tongue-in-cheek uses" in features and cartoons.
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During the same time period, the Board of Health shut down many Los Angeles restaurants due to an influenza epidemic leaving cabaret showgirls out of work. Wilson and Universal was addressed with a mob of showgirls trying to take part in her film. In February 1918, Frances Denton wrote a story for Photoplay that addressed the normative femininity subordinate women in the name of equality. Denton presented Wilson as being a role model for the social standing of women.
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Rialto Theater Hailed as "the ultimate photoplay house," the Beaux-Arts style Rialto Theater opened September 7, 1918. Tacoma's Rialto was part of a national movie house chain and as such, the stage space, orchestra pit and dressing rooms were at a bare minimum. The lobby was also considerably smaller than what is present today. These vaudeville-era theater architects concentrated on the auditorium, seeking acoustically successful theaters and concert halls as models for the ones they designed.
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It is the only film in which all three Pickford siblings appear. It was thought lost until rediscovered in the 20th century at the British Film Institute. Pickford starred in The Diamond from the Sky serial (1915) although, to her humiliation, she was only given the role after Mary turned it down. A Photoplay article from around the time of the release declared her "Pickford the Second!" and compared her to her sister, albeit as a worthy sequel.
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James W. Horne Photoplay (Dec. 1915) This cemented Horne's position in Columbia's serial squad, and he directed cliffhangers exclusively (and without assistance) for the rest of his life. This job security seems to have prompted Horne to indulge his sense of humor, because most of his Columbia serials are tongue- in-cheek. Horne had his actors play their roles straight for the first three chapters—these would be the sample episodes used to sell the serial to exhibitors.
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The film won the Photoplay Magazine Medal for best film of the year in 1925. The medal is considered the first significant annual movie award, prior to the establishment of the Oscars. After the film's producers found a clause in Vidor's contract that entitled the director to 20% of the net profits, studio lawyers called for a meeting with him. At the meeting, accountants upgraded the costs of the picture and downgraded their forecast of its potential success.
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Roland's first film contract was with Paramount. His first major role was in the collegiate comedy The Plastic Age (1925) together with Clara Bow, to whom he became engaged."My life, by Clara Bow". Told to and edited by Adela Rogers St. Johns. Published by Photoplay magazine in February, March and April 1928 In 1926, he played Armand in Camille opposite Norma Talmadge, with whom he was romantically involved, and they starred together in several productions.
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Vidaurri played in the bands the Ashes, along with Alec and Thomas Hanslowe. Their music is described as bringing together "tubas and violins, banjos and electric guitars, organs and jawharps, all while dabbling in the sounds of the 60's, Nashville and New Orleans," and it draws comparison to the music of the Brian Jonestown Massacre, Bright Eyes, Tom Petty, and Tom Waits. They released the albums Photoplay Music in 2010, and Sing! in 2011, with Mint 400 Records.
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One example of his freelancing was a Mickey Mouse-themed cartoon in the September 1932 issue of Photoplay. The radio-themed cartoons of Otto Watt ran adjacent to newspaper radio program listings. Neher drew Goofey Movies for five years, along with gag cartoons for 42 magazines, including Collier's and The New Yorker, when the Bell Syndicate launched Life's Like That on October 1, 1934. It ran until 1941, disappearing from newspapers during World War II, but returning in 1945.
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" Variety also gave it a less than favorable review, calling it "ordinary program stuff." However other reviews were much more favorable, with The Film Daily calling it a "Stupendous Foreign Legion production with stout direction and excellent photography". They criticized the story as weak, but also praised the acting of the mostly male cast, and singled out Loretta Young's strong performance. And Photoplay magazine called the a "spectacular sequel to Beau Geste, and complimented the acting.
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Modern Screen magazine debuted on November 3, 1930.Ref to First Issue Founded by the Dell Company of New York City it initially sold for 10 cents. Modern Screen quickly became popular and by 1933 it had become Photoplay magazine's main competition. It began to brag on its cover that it had "The Largest Circulation of Any Screen Magazine", and Jean Harlow is seen reading a copy of Modern Screen in the 1933 film Dinner at Eight.
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Photoplay Magazine was unenthusiastic in its review of Broadway Scandals: "If this picture appeared six months ago, it would have looked better, for it is a late entrant in the line of love stories back of the theater curtain." Egan and Myers did well in their roles, while "Sally O'Neil tries hard."Kreuger, Miles ed. The Movie Musical from Vitaphone to 42nd Street as Reported in a Great Fan Magazine (New York: Dover Publications) p 127.
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He also worked with Vangie Valentine in 1918 on her film debut in Velvet and Rags. Binney then moved to Canada and established Canadian Photoplay Productions but it fell through.Embattled Shadows: A History of Canadian Cinema, 1895-1935 by Oeter Morris In 1922 he was involved in a film project in Oregon. He solocited photographs from community members interested in participating and Oregon governor Ben Olcott and Salem mayor George E. Halvorsen were said to be taking part.
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From 1944 to 1968, Photoplay awarded a Gold Medal for film of the year based on polling done by George Gallup's Audience Research Inc. through the 1950s, and then voted on by the magazine's readers. It also awarded Most Popular Male Star and Most Popular Female Star based on an actor and actress' popularity, not their performance. The awards were based on polling through the 1950s, and then on a vote by the readers, similar to the Gold Medal.
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In 1914, Wagner married Kansas City newspaperwoman Florence Welch, who told her new husband that he could make a better living writing about the motion picture industry than working as an artist. He covered the film industry writing for the Saturday Evening Post, Collier's, Liberty, Photoplay and other magazines. His series of articles on the film industry in The Saturday Evening Post resulted in the book Film Folk (1918), one of the first serious examinations of the movie business.
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Delight Evans cited the film among "the most entertaining photoplays ever made" on Photoplay in 1923. It was ranked #10 on Screenland's reader poll of "The Ten Best Screenplays Ever Made" in 1924. The Motion Picture Guide praised the film for its "tremendous production values, excellent direction, a good script, and an outstanding cast", giving it three out of four stars.Jay Robert Nash, Robert Connelly, Stanley Ralph Ross, Motion Picture Guide Silent Film 1910-1936, Cinebooks, 1988, p.
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The Last Edition is a 1925 American silent drama directed by Emory Johnson based on the story by Emilie Johnson. The photoplay is set in San Francisco, California and stars Ralph Lewis as a pressman at the San Francisco Chronicle newspaper. The movie was released on November 8, 1925 by Film Booking Offices of America. The motion picture was filmed in and around the "Old Chronicle Building" located at 690 Market Street in downtown San Francisco.
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The sets for staging the production, including basic replicas of several deck areas on the , were built in New York City at Edison Studios, which was located at the intersection of Decatur Avenue and Oliver Place in the Bronx. The extras who performed as crewmen aboard the British flagship and on the French vessel Redoubtable were various Bronx residents hastily gathered by the studio from surrounding neighborhoods."Marc MacDermott: Movie '49er", Photoplay, October 1917, pp. 104, 106.
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Edgar cryptically shouts "Warn the Duke!" to Houdini. Mother encounters Tateh again, not recognizing him from their brief meeting months ago; now a filmmaker, he has re-invented himself as "the Baron Ashkenazy" and is directing a silent movie in Atlantic City (“Buffalo Nickel Photoplay, Inc.”). Edgar and the Little Girl soon become fast friends, prompting Mother and Tateh to become friends as well; eventually, Tateh reveals who he is, and they grow even closer (“Our Children”).
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It was during her time working with Neilan that the two began a publicized affair, which brought on his divorce from former actress Gertrude Bambrick. Sweet and Neilan married in 1922. The union ended in 1929 with Sweet charging that Neilan was a persistent adulterer. Sweet, seen in an official January 1918 Photoplay publicity photo During the early 1920s Sweet's career continued to prosper, and she starred in the first film version of Anna Christie in 1923.
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Petaja based the book on his personal collection, which at the time of publication numbered more than eight hundred books. As the author of Photoplay Edition, Petaja was a special guest at the San Francisco Silent Film Festival in 1998 and 1999. While living in Los Angeles, Petaja worked in the labs at Technicolor, and wrote a handful of stories set in and around the movie capital. His interest in movies and film making continued through the years.
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The cartoon opens with the printed words: > To the ladies > The worm in this photoplay > is fictitious - Any similarity > between this worm and your > husband is purely intentional. The camera pans over a forest, shown with no background music. There is a sign that reads "Quiet, isn't it?" Then, the camera zooms to a hole in ground, from which emerges a worm (who seems to be a caricature of Lou Costello, complete with his trademark whistle) wearing a bowler hat.
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Tess of the Storm Country was released five weeks later. Biographer Kevin Brownlow observed that the film "sent her career into orbit and made her the most popular actress in America, if not the world". Her appeal was summed up two years later by the February 1916 issue of Photoplay as "luminous tenderness in a steel band of gutter ferocity". Only Charlie Chaplin, who slightly surpassed Pickford's popularity in 1916, had a similarly spellbinding pull with critics and the audience.
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Collaborating with Dr. William Axt, Rapée co-wrote an eminent collection of photoplay music, which included a series of three Agitatos, Appassionato No. 1, Debutante, Frozen North, Screening Preludes 1 and 2 and Tender Memories. Other pieces written solo included The Clown's Carnival and Pollywog's Frolic. In 1926, Rapée collaborated with composer Lew Pollack on "Charmaine" for the film, What Price Glory? (1926), "Diane", for the Fox Film production, Seventh Heaven (1927), and "Marion" for the Fox production 4 Devils (1928).
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Although the review branded the ending unsurprising, they described it as "nevertheless pleasing". The Evening Independent praised the film, lauding it as "one of the cleverest and most interesting pictures that has been here this season". A review from Photoplay applauded Mackaill's performance and described the film as "a true and human story". The review in the Motion Picture Herald assessed it as "a nice little feature, nothing big, but will go over on bargain nights", with praise directed to Mulhall's performance.
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Few details are known about the production of the film, but it was shot on a beach resort and used a miniature train. Due to the lack of credits, both Louise Fazenda and Henry Mann's roles were provided by Photoplay, in response to an reader inquiry. The film was the first release by the new Joker productions, which was dedicated to producing only short comedy films. Kalton C. Lahue and Samuel Gill credit this production as being Louise Fazenda's film debut.
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Her work was seen as artistic, enjoyable and popular in the film industry. Wilson featured as many female roles in her films and tended to appeal to child and female audiences. When writer Frances Denton of Photoplay visited Universal Studios in 1918, she described the work that Wilson was creating as “sob stuff” and was noticed as one of the female directors at Universal that created films centering around children. “The Game’s Up”, released in 1919, marked the end of Wilson's career.
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Walpole worked for Bland Holt then with J.C. Williamson for six years. He and his wife Ethel Phillips, along with Charles Villers, were the resident actors for Australian Photoplay Company. In 1912 he moved to the USA and appeared in a number of films there, becoming a leading man for the Eclair Company. He returned to Australia for eight months in Melbourne acting for J.C Williamsons, then returned to the US and was signed by Julius Stern for Universal Heights.
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These features were evidence of the neighborhood vaudeville and dramatic performances envisioned by the management. Rather than follow the pattern of photoplay parlors and by having an elaborate facade to attract customers to a plain interior, the Riviera had a relatively plain facade and an elaborate interior. The seating capacity was 1,200. In the Riviera, a rare form of construction unique to Milwaukee was used: the "stadium style" balcony where one could walk from the main floor seats directly up to the balcony.
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He then went on to New York, where he studied with Robert Henri. After a trip to Paris in 1919 to study at the Académie Julian, he returned to New York and established a studio. In 1921 he went to Minneapolis to study calendar production at Brown & Bigelow. During the 1920s and 1930s, his work appeared on many pieces of sheet music, as well as on the covers of many magazines, most famously for movie fan magazines such as Photoplay and Screenland.
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She was born on September 22, 1937, the daughter of Don and Isabel Moore, both writers. Her parents divorced in the mid-1940s, and her father relocated to Los Angeles, California, where he worked as a story editor for Warner Brothers and RKO Pictures; her mother took a job as an editor for Photoplay in New York City. Between schooling, Moore spent her childhood splitting her time between New York and Los Angeles. She was educated at Rosemary Hall and Barnard College.
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Harold Holland Harold Holland (May 12, 1885–September 27, 1974) was a British theatre and silent film actor and playwright. He was born in Bloomsbury, London. He played Dr. Rogers in the 1913 film Riches and Rogues, and took the lead role of Dr. Thomas "Tom" Flynn in the 1914 comedy The Lucky Vest. After having worked on Charlie Chaplin films including Shanghaied and The Bank in 1915, he was hired by the Morosco Photoplay Company in 1916 as it expanded.
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Poster advertisement noting "William L. Sherrill presents Miss Texas Guinan in The Boss of the Rancho" In 1918 he presented a photoplay starring H. B. Warner in God's Man (1918 film). Texas Guinan was one of the stars featured in Sherrill's Frohman productions. Sherrill was involved in film industry discussions about hiring extras directly rather than via agents. He was also at meetings of the National Association of the Motion Pictures Industry seeking to have presidential candidates address censorship issues.
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In 1916, at age 18, she sold a screenplay to the Lubin motion picture company, for which she received $25. Twelve years later, in March 1928, she was announced as the winner of a national contest sponsored by Photoplay magazine and Paramount Pictures for her scenario for a movie called Swag. She won from 40,000 entries and received a first prize of $5,000. In 1929, Vale was director of publicity for Pickwick Airways and for several years after was an aviation writer.
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Carolyn Kitch, author of the book The Girl on the Magazine Cover, finds, however, that McMein created illustrations of confident, modern New Women for her magazine covers, while Jessie Wilcox Smith concentrated more steadily on children. Neysa McMein, Adams California Fruit Gum, advertisement, 1920, Motion Picture Classic magazine From 1923 through 1937, McMein created all of McCall's covers. She also supplied work to National Geographic, Woman's Home Companion, Collier's, and Photoplay. McMein earned up to $2,500 (estimated ) per cover illustration.
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Photoplay, 1921 Director William Desmond Taylor shared her interest in books, and the two formed a close relationship. Author Robert Giroux claims that Taylor was deeply in love with Normand, who had originally approached him for help in curing her alleged cocaine dependency. According to Normand's subsequent statements to investigators, her repeated relapses were devastating for Taylor. Giroux says that Taylor met with federal prosecutors shortly before his death and offered to assist them in filing charges against Normand's cocaine suppliers.
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Lampe (1914) Early films (c. 1890-1910) merely relied on classical and popular repertory, mixed usually with improvisation by whatever accompanist was playing (usually a pianist). Around 1910, folios of photoplay music began being published by companies such as Sam Fox Music and Academic Music. These were only a minute or so long and could not sustain an entire feature, but were used to fill in scenes where music was not popularly written (such as "misteriosos" for scenes of mystery, etc.).
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Sylvia wrote three books on health, appearance and beauty: No More Alibis (1934) Photoplay Publishing, Chicago, Pull Yourself Together Baby with cartoons by Paki (1936) Macfadden, New York."How to Develop Your Personality Is Subject of Sylvia's New Book", The Charleston Gazette, 25 October 1936.Kincaid Brockman, Z. "Unguarded Moments", The Gastonia Daily Gazette, 10 September 1937. and Streamline Your Figure (1939), Macfadden, New York."Sylvia Tells Women How to Attain Allure in Breezy New Book", The Charleston Gazette, 5 February 1939.
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The whole premise of its advertising campaign was that the best gift you could give for the holidays was a ticket to see this movie. There were a few interviews in Photoplay Magazine with the famous designer Edith Head who was in charge of designing the clothes for Joan Bennett to wear in the film. Several posters were made for the film, some of which are in different languages including Spanish. The film was marketing to multiple regions & Spanish magazines reviewed the film.
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The play opens with journalist Adela Rogers St. Johns and Jim Quirk, editor of Photoplay magazine, discussing Herbert Howe’s latest article and his general reputation around Hollywood as an ace reporter willing to do nearly anything to get an interview or story. Howe enters, and after a brief discussion about the tactics Howe implements to get his stories, St. Johns and Quirk leave. Tracy, a new reporter, enters and attempts to seduce Howe so that he might mentor her. She is quickly rebuffed.
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The Dundee Theater opened to the public on December 19, 1925. Described by the Omaha World-Herald as "Omaha's newest photoplay house," the Dundee opened with the silent comedy The Trouble with Wives and the short film The Fighting Dude, written and directed by Fatty Arbuckle.(1925) New Dundee Theater Opens Saturday, 7:30 P.M. Omaha World-Herald, December 18, 1925. Four years later, in 1929, management at the Dundee installed sound equipment and the cinema entered a new era of film exhibition.
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Retrieved November 4, 2018. Variety also informed its readers that the Rivoli's management had paid $10,000 to the film's distributor just to rent the picture, which it noted was "probably a record price for a straight rental anywhere in the world". With regard to broader public reaction to Dr. Jekyll and Mr. Hyde in 1920, fan-based publications and individual moviegoers expressed more mixed reactions to the film than critics in entertainment trade papers.Mantle, Burns; and managing editors of Photoplay (1920).
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In 1915, Madison became one of the few women in Hollywood to begin directing her own short and feature films. Madison was among the unprecedented wave of female directors employed by Universal that included Grace Cunard, Jeanie MacPherson and Lois Weber. Madison, known for her progressive views, was eager to begin work and was confident in her own ability. She was quoted in Photoplay magazine: Madison directed sixteen shorts and two feature-length films in a directorial career lasting only one year.
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She also entered into a lucrative contract with the glamour photographer Keith Bernard, and she worked steadily with him for the rest of the decade. For Bernard, a well- established photographer who had worked with Marilyn Monroe and Jayne Mansfield, Brosmer would prove to be the top-selling pin-up model of his career.Graysmith, pp. 159–160. Brosmer's publication work during the late 1950s includes appearances in Modern Man (October 1956, cover); Photoplay (April 1958, cover); and Rogue (July 1958 and February 1959, covers).
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During his years conducting for silent films on Broadway, Rapée arranged and composed a bulk of his library. In 1923, Robbins- Engel Music began publishing the music of Rapée and his associates under the banner of the "Capitol Photoplay Series". Under their "Gold Seal" series (carefully selected pieces chosen to be printed on high-quality paper), his song "When Love Comes Stealing" was published the same year. Five years later, it became the theme song of the Paul Leni film, The Man Who Laughs.
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In the early days of film the word "photoplay" was quite commonly used for motion pictures. This illustrates how a movie can be thought of as a photographed play. Much of the production for a live-action movie is similar tot that of a theatre play, with very similar contributions by actors, a theatre director/film director, producers, a set designer, lighting designer, costume designer, composer, etc. Much terminology later used in film theory and film criticism was already applied for theatre, such as mise en scene.
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An article in Photoplay details an encounter between Devereaux and a belligerent white woman. On a crowded street car, the woman intentionally took up available space in order to prevent Devereaux from sitting nearby. Devereaux interrupted the conductor of the street car, who insisted that the woman move her belongings, saying that she would rather stand than to sit next to such a woman. Despite this unease, many in the film business were aware of, and respected Devereaux's wit, dignity, and talents as an actress.
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On the cover of Photoplay magazine, 1919 She began making films in 1914, in a Vitagraph comedy short, In Bridal Attire (1914). Her first major role was as the Mountain Girl and Marguerite de Valois in D.W. Griffith's Intolerance (1916). Griffith re-edited Intolerance repeatedly after its initial release, and even shot new scenes long after it was in distribution. Grace Kingsley found Talmadge in her dressing room at the Fine Arts Studio, in Los Angeles, in the midst of making up for some new shots.
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The film received mostly favorable reviews, although several were lukewarm. Photoplay called the film a "... sophisticated story interesting from start to finish", while Motion Picture Magazine said the movie was "sophisticated" and "entertaining", praising both the direction and acting. Silver Screen, however, stating that only Lowell's performance saved the film from "utter triteness". Mordaunt Hall, of The New York Times, gave the film a somewhat positive review, praising both Lowell and Coleman, as well as several other players, but merely calling Dunne's performance "competent".
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The latter was adapted to film as The Fighting Heart (1925 film) Poster for Camille of the Yukon Several of his stories were also adapted to film. His story The Painted Lady was published in the Saturday Evening Post. It was adapted to film as When a Man Sees Red in 1917 and then as The Painted Lady (1925), and republished as in a photoplay edition illustrated with scenes from the movie by Grosset & Dunlap. It was made into film a third time as Pursued (1934 film).
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There she played the "good girl" pursuing Elvis and competing against a vixen type played by Sue Ane Langdon, all the while being stuck in arguments with her father, a bitter carnival hand played by Leif Erickson. Variety magazine said that "Miss Freeman hasn't much to do except wring her hands ... but does it prettily." In 1964 Freeman received a Photoplay Gold Medal nomination for Best Female Star. The other such role was in 1967, when she appeared with Roy Orbison in The Fastest Guitar Alive.
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In 1918, she reteamed with Sidney Franklin, who directed The Safety Curtain, Her Only Way, Forbidden City, The Heart of Wetona, and 1919's The Probation Wife. These films have small-scale settings and familiar actors appearing from one film to the next. An advantage of the East Coast locale was access to the country's best high-fashion designers, such as Madame Francis and Lucile. Between 1919 and 1920, Talmadge's name appeared on a regular monthly fashion advice column for Photoplay magazine; her publicist was Beulah Livingstone.
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A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score.
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For many years the Brownlow restoration with Carl Davis's score was unavailable for home viewing. In 2016 it was released by BFI and Photoplay Productions on DVD, Blu-ray and for streaming via the BFI Player. Francis Ford Coppola's 1980 edit (3 hours and 43 minutes), accompanied by Carmine Coppola's score and projected at 24 fps, has been released on VHS and Laserdisc in the US, and in Australia on a Region 4 DVD. These have also been pirated on DVDs emanating from Europe and elsewhere.
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Modern Screen remained a major success through the 1950s but a downturn in movie ticket sales at the end of the decade led to a general sales decline in the magazine. Still Modern Screen managed to remain popular. On January 3, 1967, The Film Daily declared that 50% of movie ticket sales were influenced by fan magazines such as Modern Screen and Photoplay. The magazine remained popular through the 1970s, and Lily Tomlin released her 1975 comedy album Modern Scream, a parody of celebrity magazines.
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At the start of World War I the company was activated for service and her father started his career as an Army officer. The family moved often and she spent much of her life in different places. She often play acted to amuse herself, playing all the parts and shifting the sets. While her father was stationed in Chicago, assigned to the staff of General Leonard Wood, she received a call from someone connected with Chicago Photoplay, insisting she come to their studio for photographs.
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"Hearts and Flowers" has an association in popular culture as melodramatic photoplay music. The practice of using the selection as a dramatic cue is documented as early as 1911,Sinn, Clarence E., "Music for the Picture." Moving Picture World, 14 January 1911, P. 76. Sinn recommends "Hearts and Flowers" in his musical suggestions for the Imp drama, "The Wise Druggist." although complaints that the tune was becoming overplayed crop up as early as 1913 "Just a Moment Please." Motiography, 20 September 1913, P. 210.
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Most of his novels were published by E.P. Dutton. McNeil also wrote short stories and magazine articles, and occasional humorous poetry. He had a short career in the early cinema in New York from 1912-1917, as a scriptwriter, including as writer on major features such as The Martyrdom of Philip Strong (1916) and The Making Over of Geoffrey Manning (1915). His July 1911 article in Moving Picture World titled "How To Write A Photoplay" suggests he was also writing for the movies prior to 1912.
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Journalist William M. Henry, writing for Photoplay, highlighted her skill by contrasting her emotional performances with her calculating and business-like persona in real- life: "... to see Madison in pictures tells you absolutely nothing about her character. Before the camera she smiles and weeps with the wonderful sympathy of which only a woman is capable." By 1915, Madison had become well known as one of the foremost women working in Hollywood, and she began to seek new challenges within the industry such as screenwriting, producing, and directing.
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The film received a positive review in The Film Daily, stating that it as a whole was a "Virile western subject that has some very pleasing bits; will sure to please Bill Hart fans". Burns Mantle, writing for Photoplay Magazine, gave it a mixed review, stating that "A better Western than 'Human Stuff' is William S. Hart's 'Sand,' but this, too, is below the Hart standard - the standard, at least, established by 'The Toll-Gate.'" Moving Picture World reported that president Woodrow Wilson had seen the film had enjoyed it.
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One of his first film credits was the lead role in Clive Donner's film Here We Go Round the Mulberry Bush (1968) where he was cast as Jamie McGregor, a teenager who finds it difficult to lose his virginity. Photoplay magazine called Evans a "bright and exciting new actor", and The Sunday Telegraph described his screen debut as "brilliant". Here We Go Round the Mulberry Bush represented a breakthrough in a number of technical features: the script, the photography and the filming techniques. Jamie McGregor speaks his thoughts out loud.
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Joyce on the cover of Photoplay, 1920 It was director Sidney Olcott at the Kalem Company in New York City who gave Alice Joyce her first chance, casting her in his 1910 production The Deacon's Daughter. She was sent to work under director Kenean Buel on the West Coast after Kalem acquired the old Essanay Studios property in East Hollywood in October 1913. Joyce spent time with Kalem (1910–1915) and Vitagraph (1916–1921), later working as independent for various studios. Her stardom began to wane with the advent of sound motion pictures.
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As he wrote about other black performers, Foster felt his attraction to film production grow and in 1913, left his journalism career to focus on the Foster Photoplay Company. That same year, Foster produced his first film, The Railroad Porter. He continued his career in film making for 30 more years, but often found excuses to interrupt it for a fleeting hobbies. In 1919, Foster returned to journalism, writing for Half-Century Magazine; however, Foster took a more serious tone than his music and performer reviews in the past.
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The Railroad Porter was written, filmed, edited, and premiered in 1913. It was the first film produced and directed by an African American with an entire African American cast, and the first feature film produced by the Foster Photoplay Company of Chicago. The film is also notable because it is one of the first instances in black film where African Americans are not seen as representations of the negative stereotypes put upon them by Anglo Americans. Many of the actors showcased in The Railroad Porter were recognizable faces in days of black vaudeville.
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It is not known exactly when the Foster Photoplay Company went out of business, as it happened slowly and for many reasons. One of the central reasons that the company began to falter was Bill Foster's many distractions. Foster had many hobbies and jobs which took much of time away from making films, thus leading to the demise of the company. While Foster was producing films, he was also writing for black newspapers across the country, producing a newsreel entitled, The Colored Championship Base Ball Game, and working for the Grand Theater manager.
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Painting on the wall of the Grosvenor Hotel, said to be the work of Banksy. In the early years of British cinema, Torquay was home to two production companies, Cairns Torquay Films and Torquay And Paignton Photoplay Productions, who in 1920, produced a total of three films between them. Recently, Devon Films, based in Torquay, has established itself as the Bay's latest film production company. The company financed and produced Stepdad in 2007, starring Ricky Tomlinson and Chris Bisson among others; it was entered into the Cannes Film Festival.
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ProQuest Historical Newspaper. Whatever the true totals, news items and reviews of her completed films testify that her output was prodigious, especially between 1913 and 1918. In 1915, Richard Willis interviewed Cunard for the July issue of Motion Picture Magazine and questioned the 22-year-old actress about the different tasks she had performed on film projects and which of those tasks she enjoyed most: A year after the preceding interview with Cunard, the fan magazine Photoplay published a feature article written by William M. Henry about the "king and queen of movie melodrama".
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Panthea opened in U.S. theaters in January, 1917, and performed well at the box office. Talmadge made several personal appearances to help the film, often wearing her costumes from the film.Spears. p. 121 It was well reviewed; Julian Johnson of Photoplay described the film as "staged with an eye both to artistic lighting and dramatic effect, true to life even in its most melodramatic moments, tingling with suspense, saturate with sympathy."The Norma Talmadge Website Review from Variety Selznick Enterprises re-released Panthea in 1923 to extremely good business.
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Rapée in 1937. Ernö Rapée (or Erno Rapee) (4 June 1891 – 26 June 1945) was an Estonian-born American symphonic conductor in the first half of the 20th Century whose prolific career spanned both classical and popular music. His most famous tenure was as the head conductor of the Radio City Symphony Orchestra, the resident orchestra of the Radio City Music Hall, whose music was also heard by millions over the air. A virtuoso pianist, Rapée is also remembered for popular songs that he wrote in the late 1920s as photoplay music for silent films.
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Valentino went on to claim that artistic control was more of an issue than the money. He wrote an open letter to Photoplay magazine, titled "Open Letter to the American Public", where he argued his case, although the average American had trouble sympathizing, as most made $2,000 a year. Famous Players made their own public statements deeming him more trouble than he was worth (the divorce, bigamy trials, debts) and that he was temperamental, almost diva-like. They claimed to have done all they could and that they had made him a real star.
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The theater's opening featured a special program and a showing of the film The Old Homestead, a Paramount film which starred Theodore Roberts, T. Roy Barns, Fritzi Ridgeway, and George Fawcett."Photoplay May Revive Old Fad," Corvallis Gazette-Times, Nov. 9, 1922, pg. 5. The opening was deemed a "great success" in front-page coverage in the local press the following Monday: > The new Whiteside Theatre was taxed to capacity Friday night, when throngs > of people, in spite of the rain, came out to witness the opening of this > magnificent new picture palace.
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Photoplay complimented the plot, dialogue and acting, calling it a "fine talkie," while The Modern Screen Magazine said it was "... an amusing story ...". The Film Daily lauded the directing and the acting, stating that the film was an "Excellent satirical comedy", and said "The subtle but sure-fire humor of Lowell Sherman and the superb acting of Nance O'Neil are the outstanding features of this fine production". The magazine also complimented the French version of the play. Motion Picture Magazine liked the picture, calling it "Clever Satire - Cleverly Done", and they especially enjoyed Sherman's acting.
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In her "rattlesnake" dress, she appeared after each showing of the feature movie, Eyes of the World (1917) starring Monroe Salisbury, to sing and give advice to all girls in the audience with ambition to enter show business. She and her husband, Frank Montgomery, were living at 1117 3rd Avenue in Seattle, Washington, in September 1918, when he registered with the local draft board for World War I. He gave his present occupation as photoplay star manager.World War I Draft Registration Card, Microfilm Roll: 1991892, Draft Division No. 6, Sept. 12, 1918, Seattle, Wash.
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Soldiers of Fortune is a lostThe Library of Congress/FIAF American Silent Feature Film Survival Catalog:Soldiers of Fortune 1919 American silent drama film directed by Allan Dwan and starring Wallace Beery. The film is based on the 1897 novel of the same name by Richard Harding Davis. The film was produced by the Mayflower Photoplay Companyimdb.com, Soldiers of Fortune (1919) Richard Harding Davis's novel that inspired the film had already been brought to the screen in 1914 by William F. Haddock; Soldiers of Fortune had her starring Dustin Farnum.
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There is even film footage of De Mille presenting her with an award from Photoplay magazine while she was rehearsing, for which he had to ride a camera crane forty feet into the air. The music for the song, "Lovely Luawana Lady", was written by John Ringling North, who appears briefly as himself during the discussion about whether the show would play the road rather than have a short 10-week season. North was a nephew of the five Ringling Brothers who founded Ringling Bros. and Barnum & Bailey Circus.
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Louise began working as a portrait photographer in 1922, working out of a music store down the block from the New Brunswick temple at which her father was a rabbi. Most of her photographs from this period are of family members and members of her father's temple congregation. In 1925 she moved to Los Angeles and set up a small photo studio on Hollywood and Vine. Louise's first published Hollywood photo was of Vilma Banky in costume for Dark Angel, and appeared in Photoplay magazine in September 1925.
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" They had one daughter, Mary Frances (née Anna Mary Bush; born 1932), who was adopted by the couple in 1936 (finalized in 1938) from the New York Foundling Hospital, run by the Sisters of Charity of New York. Due to Dunne's privacy, Hollywood columnists struggled to find scandals to write about her—an eventual interview with Photoplay included the disclaimer, "I can guarantee no juicy bits of intimate gossip. Unless, perhaps she lies awake nights heartsick about the kitchen sink in her new home. She's afraid it's too near to the door.
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Titus began her movie career in 1911 in Brooklyn, New York with the Vitagraph Studios short film, Tale of Two Cities. Beginning in 1915 she appeared in films produced by Bison Motion Pictures, Oliver Morosco Photoplay and Universal Studios. In 1919 she supported Geraldine Farrar as Mamie Connors in The World and Its Woman, a tale about a Russian peasant (Farrar) who rises to fame as an operatic diva. In the movie Titus sang some of the songs (although this was a silent film) that she performed for English royalty in the 1890s.
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She played opposite Wallace Beery, Tom Mix, Hobart Bosworth, Alan Hale, Thomas Moore, and Lewis Stone. At one time she was engaged to marry Western star William S. Hart, although their marriage never took place. She is celebrated for her westerns;The Independent,London, February 1990 and made five films with Hart. Publicity photo of Jane Novak from Stars of the Photoplay (1924) Novak's movies were often based on outdoor stories. Some of these include Treat 'Em Rough (1919), Kazan (1921), Isobel (1920), The River's End (1920), and The Rosary (1922).
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A clause in her contract allowed the studio to drop her at six- month intervals, leading to recurring concerns for Lynn. She said, "I was a redhead with freckles and didn’t have a bosom. I prayed so hard they’d keep picking me up." Lynn made her film debut in the 1948 film Sitting Pretty, which won a Photoplay Gold Medal. That same year, she appeared in June Bride with Bette Davis followed by roles in Mother Is a Freshman (1949), Cheaper by the Dozen (1950), and Payment on Demand (1951).
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Publicity photo of Dolores del Rio from Stars of the Photoplay In early 1925, Dolores met the American filmmaker Edwin Carewe, an influential director at the First National studio, who was in Mexico for the wedding of actors Bert Lytell and Claire Windsor. Carewe was fascinated by Dolores and managed to be invited to her home by the artist Adolfo Best Maugard. In the evening Dolores danced and her husband accompanied her on the piano. Carewe was determined to have her, so he invited the couple to work in Hollywood.
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She later hosted over 100 episodes of the magazine show Photoplay, produced by Jack Haley Jr. She has guest starred on other series, including Married... with Children, Murder, She Wrote, The Perry Mason Mysteries, Dear John, Sabrina the Teenage Witch and The Nanny. In film, Brittany starred in Sundown: The Vampire in Retreat (1989). During the late 1990s, Brittany returned to her dancing and singing roots when she played the title role of Mame in the 30th-anniversary Broadway tour of the musical. She toured 90 cities over a six-month period.
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Photoplay: the Aristocrat of Motion Picture Magazines, Volume 9 1915 Cowl was born Jane Bailey in Boston, Massachusetts, to Charles Bailey and Grace Avery.Jane Cowl: Her Precious and Momentary Glory page 36 by Richard Abe King c.2004 Retrieved October 27, 2014Notable American Women, 1607–1950; A Biographical Dictionary, Volume 2 by Edward T. James, Janet Wilson James, Paul S. Boyer c. 1971 She attended Erasmus Hall High School in Brooklyn, New York City.The Cyclopedia of American Biography, 1926, page 176 And she also took some courses at Columbia University.
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Although the film had problems with censors, it was a major success at the time of its release. Our Blushing Brides (1930) the final installment in the Our Dancing Daughters franchise co-starring Robert Montgomery and Anita Page, where Crawford "carries the burden of dramatics in this photoplay and comes off splendidly and intelligently." Her next movie, Paid (1930), paired her with Robert Armstrong, and was another success. During the early sound era, MGM began to place Crawford in more sophisticated roles, rather than continuing to promote her flapper-inspired persona of the silent era.
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The Bougainville Photoplay Project was first performed at the National Multicultural Festival Fringe in Canberra in February 2008, with the following participants: Paul Dwyer: Researcher and Storyteller David Williams: Director and Stage Manager Sean Bacon: Video Artist Subsequent performances have been for the Liveworks Festival at the Performance Space, Sydney (2008); at the Old Fitzroy Theatre, Sydney (2009); and a Mobile States Tour for Performing Lines (2010) which toured to Arts House at North Melbourne Town Hall, Darwin Arts Festival at Browns Mart Theatre, Powerhouse Arts Centre in Brisbane, and Perth Institute of Contemporary Arts.
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Advertisement in Photoplay for Terreur, White's final film, 1924 Influenced by her French friends from Pathé, White was drawn to the Montparnasse Quarter of Paris. While living there, she made her last film for her friend, Belgian-born director Edward José, who had directed her in several serials. Silent films could be made in any country, and as White was a recognizable star worldwide, she was offered many roles in France. She made her final film, Terreur (released as The Perils of Paris in the United States), in France in 1924.
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Richard William Dorgan, known as Dick Dorgan, was an American cartoonist, writer, and illustrator. His first known published work appeared in The New York Call in 1913. A wide variety of his early work was published in The Broadside: A Journal for the Naval Reserve Force, 1918–1920. He is remembered as the illustrator of Thorne Smith's first two novels, Biltmore Oswald (1918) and Out o' Luck (1919), as well as for his work as a columnist for Photoplay Magazine and newspaper artist in the 1920s and '30s.
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Meanwhile, Frederiksen reunited with Ricky Phillips to start a brand new band called Abandon Shame, featuring Journey keyboardist Jonathan Cain, and his wife Tane. The quartet worked on 5 songs in 1984, with Fergie only singing on one of the tracks. The Kevin Elson-produced "You Can't Do That", "Burnin' in the Third Degree", and "Photoplay" appeared in the soundtrack to The Terminator, and were credited to Tahnee Cain and Trianglz. While "Kicks" and "Over Night Sensation" would eventually appear in the 1985 film Armed Response,Armed Response: Technical Details, Theiapolis. Retrieved May 30, 2012.
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Photoplay was also mostly negative, but thought the film might appeal to fans of Bertha M. Clay. The Net is believed to be lost. The 1937 Fox vault fire destroyed most of Fox's silent films, and the Library of Congress is not aware of any extant copies. Because little of Edwards's work survives, few of his films have drawn attention from modern authors, but film historian Larry Langman described The Net as an example of the 1920s trend to use amnesia as a plot element in crime films.
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Their engagement and subsequent wedding on June 18, 1920, at Manhattan's Church of the Heavenly Rest was widely covered by the press and entertainment tabloids of the day.Screen Players Marry. New York Times: June 19, 1920; pg. 22 Photograph of Richard Barthelmess and Mary Hay published in Photoplay, 1920 That December Hay supported Marilyn Miller and Leon Errol playing ‘Rosalind Rafferty’ in the extremely successful Sally, a Ziegfeld produced musical comedy written by Guy Bolton with lyrics from Clifford Grey and music by Jerome Kern and Victor Herbert.
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Scott and Taylor both went from Favorite Players, to American Film, Scott became cameraman on The Diamond From the Sky in August 1915. Taylor had been directing the serial since May 1915, and Scott had been filming features for Lasky prior to rejoining Taylor. to Pallas-Morosco, Pallas Pictures and the Oliver Morosco Photoplay Company used the same studio and personnel, with films distributed by Paramount Pictures. to Fox, Other clippings specifically name Scott: "Dustin Farnum in Fox Play" and back to Pallas-Morosco (which had been absorbed by Famous Players-Lasky).
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Beginning in late 1914, Countiss turned her acting talents and considerable stage experience to mastering the medium of silent feature films. In the span of roughly six months, she would star in four moving pictures. First would be the five-reel film The Idler, an adaptation of the stage play by C. Haddon Chambers, co-starring Charles Richman, and produced by the Box Office Attraction Company (Fox Film). Following this initial entry, Countiss joined the Life Photo Film Corporation under contract to play the lead in their next photoplay, The Avalanche.
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Today, novels published in conjunction with the release of a film will often feature an actor or actress on the cover of the book, but without the interior illustrations. Today, the most sought after photoplays are those tie-in editions for favorite films such as Dracula, Frankenstein and King Kong, or lost films such as London After Midnight. Other collectors search for books featuring individuals stars, like Louise Brooks or Rudolph Valentino. Published by Grosset & Dunlap in 1927, The General is today one of the most sought after of photoplay books.
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They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material.
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Who Needs Beauty!, Photoplay, January 1954 She was featured on 7 September 1953 cover of Time magazine, and also became known for her personal style. Following her success in Roman Holiday, Hepburn starred in Billy Wilder's romantic Cinderella-story comedy Sabrina (1954), in which wealthy brothers (Humphrey Bogart and William Holden) compete for the affections of their chauffeur's innocent daughter (Hepburn). For her performance, she was nominated for the 1954 Academy Award for Best Actress, while winning the BAFTA Award for Best Actress in a Leading Role the same year.
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Lisanti, p. 76. Haworth turned down working on Hawaii Five-O because of the reputation of the show's star, Jack Lord, for being a hard-driving perfectionist.Terry, Polly, Jack Lord & Jim MacArthur, Photoplay (UK), December 1971.Major, Jack, Jack Lord; The Providence Sunday Journal, 7 September 1969: Haworth had no idea that Lord typically worked a 72- to 84-hour work week to keep the Hawaii Five-O television show going, which was shot on location and cost 30% more to produce than a typical Hollywood TV series.
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Foster was also in the forefront of race films – films that were made with an all-black cast, featuring black people and black lifestyle, for a black audience, and shown to segregated African-American viewers. The history of race films began with Foster in 1910 and the comedic shorts produced by the Foster Photoplay Company. "These independent productions provided black viewers with images of African-American experience that were conspicuously absent from Hollywood films, including black romance, urban migration, social upheaval, racial violence, alcoholism and color prejudice within the black community".Golus, Carrie.
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Photoplay began as a short fiction magazine concerned mostly with the plots and characters of films at the time and was used as a promotional tool for those films. In 1915, Julian Johnson and James R. Quirk became the editors (though Quirk had been vice president of the magazine since its inception), and together they created a format which would set a precedent for almost all celebrity magazines that followed. By 1918 the circulation exceeded 200,000, with the popularity of the magazine fueled by the public's increasing interest in the private lives of celebrities.
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Sometimes she would supplement these features with "shorts" filmed at Fox Studios. By 1917 Phillips had appeared in 22 films over two years and had suffered a breakdown due to exhaustion. It also caused a breach in her working relationship with director Joseph De Grasse and screenwriter/director wife, Ida May Park. Painted by Rolf Armstrong for cover of Photoplay, 1923 Once she had rested and recovered, 1918 brought a series of successful films including A Soul For Sale, the first film starring her that was directed by her husband, Allen J. Holubar.
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According to Richard Koszarski's book "An Evening's Entertainment", a survey was sent out in the mid-1920s to 10,000 out of about 15,000 theaters in America. Of those that responded to the survey, approximately 50% used theater organs, 25% used piano only, and 25% used orchestras (two or more players). For those using orchestras, improvisation was difficult and a compiled score was preferred. The studio would hire a company to produce a cue sheet; generally three to four pages of listings of photoplay music, classical or popular standards from their library.
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In his review in The New York Times, Andre Sennwald described the film as "a tender and lovingly arranged screen edition of Sir James's rueful little Scottish romance...in its mild-mannered and sober way, The Little Minister proves to be a photoplay of genuine charm." The film was popular but its high cost resulted in a loss of $9,000 and contributed to Hepburn's reputation as "box-office poison." Leonard Maltin gives The Little Minister four and a half out of 5 stars, calling the film “charming“ and Hepburn “radiant“.
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During his film career he was also romantically linked with another co-star, Betty Compson, who at one point was considering marrying him (after her divorce from James Cruze). After the creation of RKO, Trevor would also work with his relative, William LeBaron. As the film industry transitioned into sound pictures, studios would create films in both sound and silent versions. Trevor's film, Love in the Desert, was one such film, and he and his co-star, Olive Borden, were featured in Photoplay magazine highlighting the new "Photophone" sound process.
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The Trail of the Lonesome Pine received positive critical acclaim, with Frank Nugent of The New York Times considering the film as significant yet not without flaws. "Paramount's new film is far from perfect, either as a photoplay or as an instrument for the use of the new three-component Technicolor process", although "a cast of unusual merit and a richly beautiful color production" were its redeeming qualities.Nugent, Frank S. "Trail of the Lonesome Pine, the First Outdoor Film in Technicolor, at the Paramount." The New York Times, February 20, 1936.
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The name "film" originates from the fact that photographic film (also called film stock) has historically been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including picture, picture show, moving picture, photoplay, and flick. The most common term in the United States is movie, while in Europe film is preferred. Common terms for the field in general include the big screen, the silver screen, the movies, and cinema; the last of these is commonly used, as an overarching term, in scholarly texts and critical essays.
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A writer of the East Oregonian observed a religious motif, calling it "one of the most wisely conducted films" ever produced with such a theme. The screenwriter Monte M. Katterjohn denounced the lack of further screenings of Lubin's filmography, including Her Humble Ministry, in a 1914 Photoplay article. Seeing these productions as better produced than the perceived flood of slapstick and burlesque comedies, Katterjohn called Her Humble Ministry, among Lubin's other films, a "charming wor[k] of yesteryear". The film is presumed lost, as are most Lubin films starring Lawrence.
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Originally constructed as a movie theatre in 1919, the building was first known as Allen's Danforth Theatre, after its owner the Allen Theatres chain. Promoted as "Canada’s First Super-Suburban Photoplay Palace", the theatre opened in the midst of both a building boom along Danforth Avenue (due to the opening of the Prince Edward Viaduct) and a boom in the construction of movie theatres following the First World War. Allen's Danforth Theatre opened on August 18, 1919, and the first feature film shown was Goldwyn Pictures' Through the Wrong Door, starring Madge Kennedy.
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He spread a rumor that she had been killed in a streetcar accident. Then he combated this rumor by saying that she was doing fine and would be starring in an up-coming movie produced by his company, the Independent Moving Pictures Company (IMP). The development of film fan magazines gave fans knowledge about the actors outside of their film roles. Motion Picture Story Magazine (1911–1977) and Photoplay were initially focused on movies' stories, but soon found that more copies could be sold if they emphasized the actors.
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With a circulation of 300,000 by 1923, the trend-setting publication remained a huge success through the 1920s and was a key title in Bernarr Macfadden's publishing empire of Physical Culture, True Detective, True Romances, Dream World, True Ghost Stories, Photoplay and the tabloid New York Graphic. It sprang from Physical Culture, stemming from the many letters written the magazine by women about their experiences.Roland Marchand, Advertising the American Dream: Making Way For Modernity 1920-40 p53-4 By 1929, the circulation of True Story was nearly two million.Hatton, Jackie.
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When she moved back to Hollywood in her early 20s, she began writing for publications like The Los Angeles Daily News and Photoplay before getting a job in MGM's publicity department. Early on in that assignment, she was charged with working with Greta Garbo, who she apparently didn't get along well with. At MGM, she met Dale Eunson, who later become editor of Cosmopolitan magazine. The pair married in 1931, and together, they collaborated on a number of short stories, stage plays (including Loco, which ran on Broadway in 1946-47), and screenplays.
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Lo Ming Yau (1900–1967) or Luo Mingyou was a Hong Kong entrepreneur and filmmaker, and a pioneer of Chinese cinema. His uncle Lo Wen-kan (羅文榦, Luo Wengan) was a major politician during the early Republican period. Lo Ming Yau founded the Hwa Peh Film Company (華北電影公司) in Beijing in 1927. In 1930, Hwa Peh Film Company merged with Lai Man-Wai's China Sun Motion Picture Company and a few other companies in Shanghai to become United Photoplay Service, one of the biggest film studios in China.
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Emory Johnson was able to get permission from the United States Navy to use the actual PN-9 No 1 flying boat in his movie. In addition to using the original plane, he also was able to get the complete cooperation of the US Navy in making this photoplay. The Navy not only allowed Emory to film flying scenes, but paraded the entire battle fleet consisting of Dreadnoughts, Destroyers, and Submarines for Emory to film. Emory Johnson had to publicly deny published reports he intended to make his film a political weapon.
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Dexter was born Iris Chapman Norton in Sydney, Australia, in 1907. At the age of 15, she convinced the editors of the Sunday Times to give her a job editing the comics section, and progressed to editing Photoplay. She then became the publicity manager for Hoyts Pictures and also appeared as a movie reviewer for Sydney radio station 2BL, and wrote a movie column for The Sydney Mail. By the late 1930s, Dexter was a freelance reporter for Sydney newspapers The Sunday Telegraph, the Sunday Sun and Guardian and Smith's Weekly and wrote a regular column for the ABC Weekly.
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In 1913, Foster and Joe Shoecraft purchased a small amount of film equipment in order "to supply the public with high class films in an endeavor to offset the malicious ones produced by other companies."["Foster and Shoecraft Make Movies,"] Chicago Defender, June 21, 1913 The first event they filmed was a YMCA dedication and ball game. A few months later, Bill Foster produced the first feature created by the Foster Photoplay Company: The Railroad Porter (1913). The movie was premiered at the 700 seat States Theater, one of the most prominent black theaters in Chicago's Black Belt districts.
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A reviewer for Photoplay Magazine said that Bennett "plays the wife with much speed and prettiness, though her method of handling a gun would hardly do in France", and noted that Holt "is a handsome hero for a change, and takes kindly to the work. It is a lively production, slightly tinged with suggestiveness at the outset". Edward Weitzel praised Bennett's performance in The Moving Picture World, saying her "part was much stronger than any she has yet played" and also singled out cameraman Edwin Willat's work, saying "scenically the production has many moments of beauty".
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The Chautauqua film tradition continues, however, with a silent film series that began in 1986 and persists into the 21st century, featuring live piano accompaniment by Hank Troy and other students of Photoplay music. The Dining Hall was refurbished in 1979 and the food service contracted out. For the first time, the Chautauqua Dining Hall became a destination restaurant (which it still is in the 21st century) and ceased to be a financial drain on the Colorado Chautauqua Association. The Dining Hall's license to serve wine and beer, however, represents something of a break with Chautauqua's prohibitionist past.
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Born in Indianapolis, Indiana, Thomas was the son of actress Katherine Fletcher and Matheis ("Matt") V. Lingham, who was also a well known stage actor and leading player on Broadway in the late 1870s and 1880s."M. V. Lingham", Internet Broadway Database (IBDB), The Broadway League, New York, N.Y. Retrieved September 17, 2019."Photoplay Side Lights: Lingham Born to Stage", Times of India (Mumbai), May 27, 1920, page 12. ProQuest Historical Newspapers.The name of Thomas Lingham’s father, Matheis, and the maiden name of his mother, Fletcher, are confirmed on Thomas's Ohio marriage license application dated February 4, 1907.
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The film premiered on December 26, 1933 in New York City, and throughout 1934 in the rest of the world. Queen Christina turned out to be a success with the critics, gathering many positive reviews. Critic Mordaunt Hall, writing for The New York Times, gave the film a positive review and liked the screenplay, calling the dialogue "a bright and smooth piece of writing" and referred to Mamoulian's direction as "entrancing". Positive opinions came also from Modern Screen's Walter Ramsey, who proclaimed it a "triumph for Garbo", and a reviewer for Photoplay, who acclaimed Garbo's "glorious reappearance".
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A promotional poster for the film makes the claim that "Millions Read the Book", and also refers to the film as an "American Masterpiece" having "Heart-Throbs, Laughs, [and] Thrills". In addition, a 1942 issue of Photoplay referred to the book as "delightful". The Vanishing Virginian, the book the film is based on, was published a second time in London in 1941, this time under the title Father Was a Handful. This version was published by Michael Joseph, a british writer and publisher who was part of the publishing company that would later become Penguin Random House.
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Editorial from a 1921 issue of Photoplay recommending that readers not watch a film, which featured nude scenes An editorial, leading article (US) or leader (UK), is an article written by the senior editorial staff or publisher of a newspaper, magazine, or any other written document, often unsigned. Australian and major United States newspapers, such as The New York Times and The Boston Globe, often classify editorials under the heading "opinion". Illustrated editorials may appear in the form of editorial cartoons. Typically, a newspaper's editorial board evaluates which issues are important for their readership to know the newspaper's opinion on.
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Ruth Waterbury, c. 1936 Ruth Waterbury (December 6, 1896, Rensselaer, New York – March 23, 1982, Newbury Park, California) was an American film critic and writer, best known for her work with Photoplay and Silver Screen magazines, and later, the Los Angeles Examiner, and The New York Daily News. She was a critic and writer on Hollywood films for over 50 years, and was president of the Hollywood Women's Press Club five times. In the 1960s she published two biographies on Elizabeth Taylor and Richard Burton: Elizabeth Taylor: Her Life, Her Loves, Her Future (1961) and Richard Burton: His Intimate Story (1965).
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She recorded her appearance in her 1913 book, Motion Picture Acting. Francis Agnew in the 1913 photoplay "Picnic in Dakota" as the Indian Maid In 1920, she moved to Los Angeles to cover entertainment for the publication after her co-worker, Margaret Ellinger, quit to become a scenarist for actress Bessie Love. While on a European vacation in Rome, she caught up with the Ben Hur crew and was intrigued by the idea of writing movies. In 1924, she left the newspaper business behind (for a while, anyway) when she was hired on at Paramount's Betty Bronson unit to write scenarios.
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In 1933, the American film magazine Photoplay conducted a search for "the most perfect female figure in Hollywood", using the criteria of doctors, artists and designers as judges. The "unanimous choice" of these selective arbiters of female beauty was Del Río. The question posed by the search for the magazine and the methodology used to find "the most perfect female figure" reveal a series of parameters that define femininity and feminine beauty at that particular moment in the US history. Larry Carr (author of the book More Fabulous Faces) said Del Río's appearance in the early 1930s influenced Hollywood.
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Bruce Cabot was given the lead role of Bob Webster, while Lewis Stone was loaned by MGM for the other lead, that of his father, John Webster. At the same time, Harry Jans and Maxine Jennings were also announced as part of the cast, as well as Arthur Hoyt and Fern Emmett, although the American Film Institute did not confirm the latter two actually appeared in the film. However, Hoyt and Emmett do appear in cast lists from contemporaneous sources such as Photoplay and Variety. On July 15, Grace Bradley's involvement in the film was revealed.
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" Sullivan showed the outline to Ince, and Ince decided it was worth investing a million dollars. In April 1916, the Los Angeles Times wrote: > The next large feature looming on the horizon is the Ince photoplay, > 'Civilization' ... It was nearly a year in the making , and is the most > pretentious of the Ince features. Many hundreds of persons took part, and it > is said that the film contains some of the most beautiful photography ever > shown on the screen. At the time of its release, it was described as "the ultimate achievement of the Ince studios.
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He left the Conservatory several years later to become the leader of Knapp's Millionaire Band, and soon thereafter reorganized the group as the Carl Edouarde Concert Band in New York City. Rothafel originally hired the services of Edouarde at the Regent Theatre in New York in 1912. When Rothafel opened the Strand Theatre in 1914, he appointed Edouarde as the lead conductor, a position he would hold for fifteen years. Edouarde compiled photoplay music into scores for features at the Strand regularly, including The Hunchback of Notre Dame (1923 film) and The Private Life of Helen of Troy (1927).
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Purviance in Photoplay magazine, 1915 In 1915, Purviance was working as a secretary in San Francisco when actor and director Charlie Chaplin was working on his second film with Essanay Studios, working out of Niles, California, 28 miles southeast of San Francisco, in Southern Alameda County. He was looking for a leading lady for A Night Out. One of his associates noticed Purviance at a Tate's Café in San Francisco and thought she should be cast in the role. Chaplin arranged a meeting with her, but he was concerned that she might be too serious for comedic roles.
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In early 1919, he began playing with the Frank Hood band and made his home in Greensboro, North Carolina. In 1924 Tal Henry took over the band and formed the Tal Henry and His North Carolinians Orchestra where he played in the O’Henry Hotel in Greensboro. The orchestra moved north to Washington, Pennsylvania playing the dances and events at the Washington Hotel. The orchestra performed in the New Yorker Hotel, Peabody Hotel, Baker Hotels of Texas, Casinos, Roseland Ballroom, Hershey Park Hotel, Steel Pier in Atlantic City and other Ballrooms, Theatre, Parks, Madison Square Garden, Loew's Palace, Million Dollar Photoplay Theatre.
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L-R: Unidentified man, Bobby Connelly and Miriam Battista in Humoresque (1920) Humoresque is a 1920 American silent drama film produced by Cosmopolitan Productions, released by Famous Players-Lasky and Paramount Pictures, and was directed by Frank Borzage from a 1919 short story by Fannie Hurst and script or scenario by Frances Marion. This film was the first film to win the Photoplay Medal of Honor, a precursor of the Academy Award for Best Picture. In 2015, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".
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Joseph Schildkraut with opera singer left Joseph Schildkraut in Stars of the Photoplay In 1921, Schildkraut played the title role in the first American stage production of Ferenc Molnár's Liliom, the play that would eventually become the basis for Rodgers and Hammerstein's Carousel. He then began working in silent movies, although he did return to the stage occasionally. He had early success in film as the Chevalier de Vaudrey in D. W. Griffith's Orphans of the Storm with Lillian Gish. Later, he was featured in Cecil B. DeMille's epic 1927 film The King of Kings, as Judas Iscariot.
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Joe is busy stocking up some new issues of Photoplay magazine; Mona arrives late due to the weather. To Juanita's chagrin, Sissy, Mona, and Joe, go up at the counter and begin singing the doo- wop tune "Sincerely", which Juanita opposes, preferring to listen only to gospel music. Back in 1975, another two Disciples, Stella Mae and Edna Louise, make their way to the five-and-dime, bringing a red jacket that the club used to wear. Mona joins them and explains that the bus she was riding on broke down and had to be repaired.
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In 1966, for her first season as Victoria Barkley, Barbara Stanwyck won the Emmy for lead actress in a drama series. She was nominated two more times (1967 and 1968) for her work in The Big Valley and earned three Golden Globe nominations as Best TV Star for the part as well (1966, 1967, 1968). And, on March 15, 1967, Stanwyck was named favorite TV actress at the Photoplay magazine awards, which aired as a special episode of The Merv Griffin Show (David Janssen of The Fugitive was named favorite TV actor). Richard Long helped present Stanwyck her Gold Medal at the event.
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William D. Foster, sometimes referred to as Bill Foster (1884 – 15 April 1940),"African American Cinema – Race movies", Film Reference. was a pioneering African-American film producer who was an influential figure in the Black film industry in the early 20th century, along with others such as Oscar Micheaux laying the groundwork for the modern black film industry. He was the first African American to found a film production company, establishing the Foster Photoplay Company in Chicago in 1910. Foster had a vision for the African-American community to portray themselves as they wanted to be seen, not as someone else depicted them.
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Showmen's Trade Review previewed the film before its release and commended Lamarr's performance: "Miss Lamarr is just about everyone's conception of the fair-skinned, dark-haired, beauteous Delilah, a role tailor-made for her, and her best acting chore to date." Photoplay wrote, "As Delilah, Hedy Lamarr is treacherous and tantalizing, her charms enhanced by Technicolor." Lamarr returned to MGM for a film noir with John Hodiak, A Lady Without Passport (1950), which flopped. More popular were two pictures she made at Paramount, a Western with Ray Milland, Copper Canyon (1950), and a Bob Hope spy spoof, My Favorite Spy (1951).
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280 Ibid Hearst's magazines would also advertise and promote his films. Cosmopolitan's first successful film was Humoresque (1920), which also was the first film to receive the Photoplay Medal of Honor. For its studio complex, Hearst acquired Sulzer'sFrom Sulzer’s Harlem River Park to Krause’s Halfmoon Beach : History of Mascot on the 19th Century Louis Bopp-Charles Looff Carousel Harlem River Park and Casinop.102 Koszarski, Richard An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928 University of California Press at 126th Street and Second Avenue but a fire on February 18, 1923, destroyed the complexp.
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He was voted the tenth biggest British star in Britain at the end of the year. He made the Hollywood-financed The Angry Hills (1959) in Greece with Robert Aldrich opposite Robert Mitchum. Baker said Aldrich offered to engage him in a 28-part series about an Englishman in New York, but he had turned it down to stay in Britain.Raymond Hyams, 'Why I Turned Down a Fortune', Photoplay, January 1960 p35. Retrieved 26 May 2012 Baker had the lead in Yesterday's Enemy (1959), a World War II drama set in Burma for Hammer Films, directed by Val Guest.
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The photoplay then shifted to scenes at sea aboard , Nelson's flagship. It is the day before the battle and officers are writing letters, perhaps their final messages, to their families and sweethearts. Lieutenant Prescott (Herbert Prior) is shown writing his fiancée (Laura Sawyer), who appears as a vision with "beautiful scenic and photographic effect". Advancing to the next day, the film depicted Nelson making a final entry in his personal diary and later on Victory bidding farewell to Captain Hardy (James Gordon) and other officers once the long line of enemy vessels is sighted on the horizon.
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Some of those blacklisted continued to write for Hollywood or the broadcasting industry surreptitiously, using pseudonyms or the names of friends who posed as the actual writers (those who allowed their names to be used in this fashion were called "fronts"). Of the 204 who signed the amicus brief, 84 were themselves blacklisted.Stone (2004), p. 365. There was a more general chilling effect: Humphrey Bogart, who had been one of the most prominent members of the Committee for the First Amendment, felt compelled to write an article for Photoplay magazine denying he was a Communist sympathizer.Bogart (1948).
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Sylvia Breamer in Photoplay, 1918. Within a few months of arriving in the US, Breamer had appeared on stage in Boston and been tested by Thomas H. Ince.The Mirror of Australia (Sydney, NSW : 1915 - 1917) 17 March 1917 Accessed 11 December 2015Sydney Mail (NSW : 1912 - 1938) "Behind the Silver Sheet" by Kathleen Ussher, p. 13, 27 June 1923 Accessed 8/1/2016 Her first movie for Ince was The Pinch Hitter, released in April 1917, where she took the leading female role next to Charles Ray. In 1918, she changed the spelling of her surname to Breamer, apparently to sound less German.
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Photoplay cover image of Sweet, April 1915 Sweet was known for her energetic, independent roles, at variance with the 'ideal' Griffith type of vulnerable, often fragile, femininity. After many starring roles, her first real landmark film was the 1911 Griffith thriller The Lonedale Operator. In 1913, she starred in Griffith's first feature-length film Judith of Bethulia. In 1914, Sweet was initially cast by Griffith in the part of Elsie Stoneman in his epic The Birth of a Nation but the role was eventually given to rival actress Lillian Gish, who was Sweet's senior by three years.
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She began working as writer for Metro-Goldwyn Mayer in 1928 but left after a year to become a columnist and associate editor for Photoplay as well as writing for other magazines such as Liberty. She left to write for Hearst's International News Service and Universal Service in 1931 and worked there until 1933, when she went to work for Columbia Pictures as a producer. She wrote for The Los Angeles Examiner from 1935 through 1943; had a syndicated column for Hearst from 1938-1940 (Hollywood in Review); and had her own weekly radio show on NBC in 1938, Hollywood Highlights.
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Advertisement in Moving Picture World, August 21, 1915 In August 1914—a full year before the film's release—Lubin was already promoting the completed photoplay in trade publications. That prolonged delay in its release was due to several reasons, one being scheduling adjustments linked to Lubin's new distribution partnership with three other film studios: Vitagraph, Selig, and Essanay."V-L-S-E Aims At World-Wide Distribution", Motion Picture News, April 24, 1915, pp. 37-38. Internet Archive. Retrieved April 15, 2020 Under the incorporated title "V-L-S-E", the companies by early 1915 were coordinating the marketing and release dates of their films.
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Busch in the film publication the Stars of the Photoplay, 1924 Busch was born in Melbourne, Victoria to popular Australian vaudeville performers Elizabeth Maria Lay and Frederick William Busch.The Age, 20 June 1891, P.5 Accessed 3/12/2016 Her mother had been active since 1883 under the stage names Dora Devere and then Dora Busch; she toured India with Hudson's Surprise Party and toured New Zealand twice.Otago Witness (NZ) 24 January 1895 p.37 They continued to tour with various companies with short breaks when their two children were born, Dorothy in 1889 (who lived for only 4 months) and Annie May in 1891.
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Monroe continued to attract attention by wearing revealing outfits, most famously at the Photoplay awards in January 1953, where she won the "Fastest Rising Star" award. She wore a skin-tight gold lamé dress, which prompted veteran star Joan Crawford to publicly call her behavior "unbecoming an actress and a lady". While Niagara made Monroe a sex symbol and established her "look", her second film of 1953, the satirical musical comedy Gentlemen Prefer Blondes, cemented her screen persona as a "dumb blonde". Based on Anita Loos' novel and its Broadway version, the film focuses on two "gold-digging" showgirls played by Monroe and Jane Russell.
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La vida de Jose Rizal (The life of Jose Rizal), released in 1912, was the first feature film produced in the Philippines. It was however not the first film released in the country—a rival film, El fusilamiento de Dr. Jose Rizal was released on August 23, one day earlier. La Vida is a silent film that depicts the life of José Rizal, the country's national hero, from his birth to his execution in Luneta. Americans Harry Brown (producer), Charles Martin (cinematographer), and Edward Gross (scenery), founded the Rizalina Photoplay Company in 1912 to produce the film, which was adapted from a 1905 stage play by Gross.
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The concert party, a well-loved theatre show which peaked in the early twentieth- century is crowd puller at the theatre. The concert party, although has its origins in Britain, was remodelled by Ghanaian artists and became a popular form of theatre in the 1950s and 1960s. Besides being turned into films, television series, photoplay, and cassettes, the concert party has been cherished for its theatre performances, often held at the national theatre. In fact, the medium was used for 'theatre-for- development' to discuss topics such as family planning, Aids and environmental protection, an idea originally pioneered by the Workers Brigades and Efua Sutherland.
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Anyone resembling them is better off dead." In the 1966 film Thunderbirds Are Go, set in the year 2068, a disclaimer states: "None of the characters appearing in this photoplay intentionally resemble any persons living or dead… SINCE THEY DO NOT YET EXIST". In the film An American Werewolf in London, and in Michael Jackson's Thriller, the disclaimer refers to "persons living, dead or undead". Debbie Does Dallas, a 1978 pornographic film, does not use the disclaimer in print, but Bambi Woods, in the film's trailer, insists the film is "completely fictional" while at the same time surmising that the events in the film "could have really happened.
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Her fourth movie for Disney did less well though was still successful, Summer Magic (1963), a musical adaptation of the novel Mother Carey's Chickens. Ross Hunter hired her for a British- American production, The Chalk Garden (1964), playing a girl who torments governess Deborah Kerr. Back at Disney she was in a film about jewel thieves, The Moon-Spinners (1964), getting her first on screen kiss from Peter McEnery."The Day Hayley got in a Hearse", Photoplay, August 1964 Mills had a change of pace with Sky West and Crooked (1965), set in the world of gypsies, written by her mother and directed by her father.
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The Top Ten Money Making Stars Poll are the polls on determining the bankability of movie stars began quite early in the movie history. At first, they were popular polls and contests conducted in film magazines, where the readers would vote for their favorite stars, like the poll published in New York Morning Telegraph on 17 December 1911. Magazines appeared and disappeared often and among the most consistent in those early days were the polls in the Motion Picture Magazine. Though this and numerous other magazines, like Photoplay, continued with this type of poll, the standards for the polling were set by the Quigley Publishing Company.
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In 1926, Hamilton played Nick Carraway in the first production of The Great Gatsby, now a lost film. He starred in John Ford's Mother Machree with Victor McLaglen, and with John Wayne in an early bit role before he was well known, the title of which would coincidentally become sidekick Chief O'Hara's catchphrase in the Batman television show nearly four decades later. He was steadily employed in supporting roles and worked for just about every studio in Hollywood. Hamilton in Stars of the Photoplay, 1924 He made the transition to sound pictures at the end of the 1920s and continued appearing in noteworthy productions.
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After private trade showings in Boston on September 13, 1917,"Photoplay in Colors of Nature Exhibited", Christian Science Monitor, September 14, 1917, p. 4. and at Aeolian Hall in New York City on September 21, 1917,Progressive Silent Film List: The Gulf Between at silentera.com it was released on February 25, 1918 to play one-week engagements on a tour of a few major Eastern cities, accompanied by the special two-aperture, two-lens, two-filter projector required to exhibit it. Because of the technical problems in keeping the red and green images aligned by prism during projection, it was the only motion picture made in Technicolor's System 1.
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The Baby Animals were formed in Sydney in October 1989 by Frank Celenza on drums (ex- Boys, Bamboo Curtain, DD and the Rockmen); Suze DeMarchi on lead vocals and guitar (ex-Photoplay the Kind, DD and the Rockmen), Dave Leslie on guitar and backing vocals (ex-Swingshift); and Eddie Parise on bass guitar and backing vocals (ex-Boys, Bel Aires, Bamboo Curtain). De Marchi, from Perth, had previously recorded three solo singles with EMI in the United Kingdom. Upon her return to Perth in July DeMarchi contacted former bandmate Celenza to form a new band in Sydney. He was initially reluctant to go but recommended another former bandmate, Parise.
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2 accessed September 18, 2012 Her last Broadway play was Greater Love, which she co-wrote and played in. Greater Love ended its run at the Liberty Theatre on March 19, 1931 after 8 performances. Mary Hay Photoplay, 1920 Hay's Hollywood career consists of only two other known films, Eastward Ho in 1919 and New Toys released in 1925. In the latter she played ‘Mary Lane’ In support of her husband's character, ‘Will Webb’.Mary Hay - Internet Movie Database accessed September 19, 2012 By May 1925, Hay had separated from Barthelmess with an arrangement to share custody of their young daughter, Mary Hay Barthelmess.
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An avid fan of American Bandstand, Kelly made his first appearance on the show in 1959. Kelly was featured in national teen magazines of the time (Teen, 16, Dig, Teen Screen, Movie Teen Illustrated etc.) but was one of the few regulars to be acknowledged outside of the fan based periodicals, like Photoplay magazine, which was primarily devoted to Hollywood movie stars. Kelly appeared in the 1997 Teleductions documentary, Bandstand Days, and represented Bandstand in the American Bandstand Anniversary Special 33 1/3 held in Santa Monica, California. In 1985, he was one of only six regular Bandstand dancers to appear on The Oprah Winfrey Show.
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Born in 1938 in London, England, as Joanna Venetia Invicta Stevenson, she is the daughter of film director Robert Stevenson and actress Anna Lee. The family moved to Hollywood within a year of her birth after her father signed a contract with film producer David O. Selznick.Fredda Dudley "The Beautiful British", Photoplay/Movie Mirror, May 1943 When her parents divorced in 1944, she stayed with her father and new stepmother, Frances."Film's Venetia Stevenson Wins Divorce", Los Angeles Times, 2 April 1957, p. B1 After an education in exclusive Californian private schools,"Dream Girl Venetia's Career Is Nightmare", Los Angeles Times, 10 May 1959, p.
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Hitchcock refuses Hedren's request for time off to attend the Photoplay Awards in New York City (where she is nominated for the Most Promising Actress award), and tells her he will require her to make herself sexually available to him on demand if her career is to continue. Hedren quits working for Hitchcock after completing Marnie, but he refuses to release her from her contract; this prevents her from working for another production company, effectively ending her Hollywood career. Two notes before the titles inform the viewer that Hitchcock and Hedren never worked together again, and The Birds and Marnie are considered his last classic films.
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In 1920, after a tour wherein he played "rural parts", he was engaged by Christie Studios on Gower Street in Los Angeles. According to Grace Kingsley in the Jan. 28 edition of the Los Angeles Times, page II11, > It now comes to light that Chic Sale, appearing at the Orpheum this week, > will as soon as his present tour is finished, about the middle of next > month, return to town in the Capacity of a Christie star. Mr. Sale's first > photoplay will be a five-reeler, adapted from Irvin S. Cobb's "The Smart > Aleck," after which he will be starred in other well-known stories suitable > to his talents.
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Subsequently he was associated with Samuel Roxy Rothafel in the management of Broadway's Rialto and Rivoli theaters. He also launched and edited the newsreel Kinograms. After producing and editing numerous adventure films including Grass (1925) and Simba: King of the Beasts (1928) with explorers Martin and Osa Johnson, he became editor-in-chief of Pathé News and Audio Review. In 1921, Photoplay commissioned Ramsaye to write a history of the motion picture that was serialized in the magazine until March 1925 as The Romantic History of the Motion Picture as well as excerpts appearing in the Film Daily Yearbook which was later published in a book.
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The Way of the Eskimo is a lost 1911 American silent drama film that portrayed the Inuit or "Eskimo" culture of northeastern Canada along the coast of Labrador."Eskimo Girl Comes to See Exposition", San Francisco Chronicle, April 25, 1915, p. 20. ProQuest Historical Newspapers (Ann Arbor, Michigan), subscription access through the University of North Carolina at Chapel Hill Library. Directed by William V. Mong and produced by Selig Polyscope Company, this "photoplay" was based on a love story written by Columbia Eneutseak, a young Inuit woman who was born in the United States in 1893, in the "Esquimaux Village" exhibition at the World's Columbian Exposition in Chicago.
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Photoplay: Famous Film Folk (1925) He had his first substantial film role in 1910, opposite actors Maurice Costello and Earle Williams in the Van Dyke Brooke-directed dramatic short Capital vs. Labor. He would spend the early 1910s appearing opposite such popular actors of the era as John Bunny, Flora Finch, Julia Swayne Gordon, Florence Turner, Edith Storey and William Shea. Morey would make his final film appearance in the 1934 Ralph Staub-directed comedy short Very Close Veins opposite actors Ben Blue and Shemp Howard. Morey died in Brooklyn, New York, United States in 1936 at the age of 62 of a lung abscess.
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Internet Archive. Retrieved December 28, 2019. In a more indepth review in the March 26 issue of Motography, the journal's "photoplay" critic George Graves describes how "the general excellence" of the acting, direction, and sets of the production overcome "weak spots here and there in the film". Reviews in city and regional newspapers in 1916 are largely positive too, with many of those news outlets focusing attention on O'Neil's performance and on the film's elaborate action scenes. In Connecticut, the Hartford Courant titles its review "Nance O'Neil In Strange Picture" but states that the "startling drama" is made remarkable "by Miss O'Neil’s intense emotional acting".
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Plummer's interpretation of Holmes is notable for playing up Holmes' drug addiction. Plummer stated at the time: The film was an ambitious production with locations including the recently reopened Severn Valley Railway (later to be used in the film adaptation of The Seven-Per-Cent Solution). Plummer hoped the film would be successful and spawn a series of Holmes adaptations, telling Photoplay magazine he hoped it would be "the first of a mini-series of six of the best stories which have not been done before". By the time the film finally aired 18 months after production the idea of continuing the series had been shelved.
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On July 14, 2011, the Silent Film Festival announced their presentation, in association with American Zoetrope, The Film Preserve, Photoplay Productions, and British Film Institute, of Abel Gance's Napoleon in March 2012 at the Paramount Theatre Oakland. The presentation features the U.S. premiere of the complete restoration by Kevin Brownlow and the U.S. premiere of Carl Davis' orchestral score, with Davis conducting members of the Oakland East Bay Symphony. The film's famous triptych sequences was shown in full Polyvision, with three simultaneous projectors and a 70-foot screen. Napoleon had not been screened theatrically in the U.S. with live orchestra for nearly 30 years.
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The controversial story put Moore in focus as a flapper, but after Clara Bow took the stage in Black Oxen in December, she gradually lost her momentum. In spring 1924 she made a good but unsuccessful effort to top Bow in The Perfect Flapper, and soon after she dismissed the whole flapper vogue; "No more flappers...people are tired of soda-pop love affairs."Los Angeles Times, May 18, 1924 Decades later Moore stated Bow was her "chief rival." Moore on cover of Photoplay magazine, 1926 Through the Dark, originally shot under the name Daughter of Mother McGinn, was released during the height of the Flaming Youth furor in January 1924.
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Common version of the motif from Mysterioso Pizzicato Mysterioso Pizzicato, also known as The Villain or The Villain's Theme, is a piece of music whose earliest known publication was in 1914, when it appeared in an early collection of incidental photoplay music aimed at accompanists for silent films. The main motif, with minor variations, has become a well-known and widely used device (or "cliche"),Hand, Richard J. (2013) "Zappa and Horror: Screamin' at the monster" in Paul Carr (ed), Frank Zappa and the And, p.25. Farmham, Ashgate. . incorporated into various other musical works, and the scores of films, TV programmes and video games, as well as unnotated indications in film scripts.
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After accepting the presidency, Abrams announced to the board, "On behalf of Adolph Zukor, who has purchased my shares in Paramount, I call this meeting to order." Within a week of removing Hodkinson, on July 19, 1916, Famous Players and the Lasky Feature Play Company merged to form Famous Players-Lasky, with Zukor as President and Jesse L. Lasky as Vice President. For a brief period Famous Players-Lasky acted as a holding company for its subsidiaries- Famous Players, Feature Play, Oliver Morosco Photoplay, Bosworth, Cardinal, Paramount Pictures Corporation, Artcraft, and The George M. Cohan Film Corporation. However, on December 29, 1917, all of the subsidiaries were incorporated into one entity called the Famous Players-Lasky Corporation.
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While The Railroad Porter has historical significance by being the first all black film production, and Bill Foster is regarded as a pioneer in that manner, his films are not seen as a high form of art. The Foster Photoplay Company's films are often regarded as regurgitated versions of comedies that had already been produced by the larger companies in the film industry. With that in mind, The Railroad Porter also includes complex narrative themes including infidelity. The Railroad Porter has to deal with his cheating wife, and while he does it in a comical way, the film still presents the story in a way that can be relatable to a man in a similar situation.
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"Map of Hollywood" from Jan. 1927 Photoplay article showing directions to studios from Hollywood Studio Club Front entrance, 2008 The only qualification needed for admittance to the Studio Club was that the applicant had to be seeking a career in the motion picture business, whether as an actress, singer, script girl, cutter, writer, designer, dancer or secretary. Some referred to it as a sorority, and the Studio Club also offered classes in various aspects of the performing arts, as well as hosting dances, teas, dinners and occasional plays, fashion shows and stunt nights. The club also provided residents with two meals a day, sewing machines, hair driers, laundry equipment, typewriters, theater literature, practice rooms, stage and sundeck.
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In May 1986 Peggy Van Zalm (ex-Distant Carnival), on lead vocals, acoustic guitar and harmonica, co-founded Martha's Vineyard with Anthony Best (later known as Bhante Sujato) on guitar, harmonica and vocals, Lisa Jooste on violin, Norman Parkhill (The Scream, Matinee Idols, Photoplay, Scant Regarde) on bass guitar and vocals, and Aidan D'Adhemar on drums, percussion and vocals. The Perth-based band took their name from the holiday resort island off the coast of Massachusetts, United States. Van Zalm had grown up in Cowaramup, a small farming and vineyard town, before studying Fine Arts at Curtin University. The band's first performance was on 21 May 1986 at the Red Parrot nightclub supporting The Saints, three weeks after forming.
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Riders of the Purple Sage received mixed reviews upon its theatrical release in 1918. The reviewer for Motion Picture News wrote: The reviewer for Variety called the film a "not-too- absorbing adaptation of the novel", noting that the film "does not rise above the level of the average Western photoplay of this type and there is no special distinction in direction or photography." In her review for Allmovie, Janiss Garza wrote that despite the "rousing climax", the film was "not one of the better adaptations of the Zane Grey novel." Like many American films of the time, Riders of the Purple Sage was subject to restrictions and cuts by city and state film censorship boards.
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She appeared alongside Humphrey Bogart in a photograph printed at the end of an article he wrote, titled "I'm No Communist", in the May 1948 edition of Photoplay magazine, written to counteract negative publicity resulting from his appearance before the House Committee. Bogart and Bacall distanced themselves from the Hollywood Ten, and said: "We're about as much in favor of Communism as J. Edgar Hoover." Bacall campaigned for Democratic candidate Adlai Stevenson in the 1952 presidential election, accompanying him on motorcades along with Bogart, and flying east to help in the final laps of Stevenson's campaign in New York and Chicago. She also campaigned for Robert F. Kennedy in his 1964 run for the U.S. Senate.
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The film was well received by film critics, including Andre Sennwald, in The New York Times, who liked Hathaway's adaptation of the novel on film, his direction, and the acting. He wrote: > Mr. Hathaway bridges the spiritual gulfs between Lives of a Bengal Lancer > [his previous film]...and the fragile dream world of du Maurier's > sentimental classic with astonishing success. With his directness and his > hearty masculine qualities, he skillfully escapes all the lush pitfalls of > the plot and gives it a tenderness that is always gallant instead of merely > soft. The photoplay, though it scarcely is a dramatic thunderbolt, possesses > a luminous beauty and a sensitive charm that make it attractive and moving.
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16 mm film showing a "variable area" sound track at right A soundtrack can be recorded music accompanying and synchronized to the images of a motion picture, book, television program, or video game; a commercially released soundtrack album of music as featured in the soundtrack of a film, video, or television presentation; or the physical area of a film that contains the synchronized recorded sound . Current dictionary entries for soundtrack document soundtrack as a noun, and as verb. A 1992 technical dictionary entry in Academic Press Dictionary of Science and Technology does not distinguish between the form sound track and soundtrack. An early atempt at popularizing the term “sound track” was printed in the magazine Photoplay in 1929.
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"A mild crook melodrama..." was how Harrison's Reports described the picture, saying it lacked excitement and suspense, and called the story "far-fetched." Photoplay was more kind to the film, finding it "fascinating", and they particularly enjoyed the performances of Preston Foster and Whitney Bourne. The Motion Picture Herald gave the film a good review, feeling the satirical edge to the piece gave an unusual and pleasing angle to a crime a drama. They applauded Lew Landers' restraint as a director, which kept the film's comedy from becoming to broad, and they also gave credit to the screenplay of Arthur Horman and J. Robert Bren, which they felt had a nice balance of suspense, humor, romance and satire.
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By January 1920, the opportunity arose for her to work in the motion picture business when she was cast for the lead role in The Strongest, directed by Raoul Walsh. The Strongest was a dramatic photoplay written by French prime minister Georges Clemenceau. She went on to star in several other silent films in the early 1920s, including Reginald Barker's The Eternal Struggle, the film which established her as a Hollywood star and also starred Barbara La Marr and Earle Williams. Before coming to America, she already had adopted the stage name "Renée Adorée" (French for "reborn" and "adored," both in the feminine form), and was billed as such in an Australian film produced in 1918.
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In La Crosse, Wisconsin, a newspaper reviewer called it a "masterpiece" and the "Biggest Spectacle in History of Motion Pictures," surpassing even D.W. Griffith's Birth of a Nation: > The photoplay and the spoken drama will be united for the first time in ... > the million dollar masterpiece of Thomas H. Ince ... 'Civilization' is an > encyclopedia of the emotions. It is inevitable to compare such a picture, > epic in its scope, including battles and the upheaval of a nation, to a > similar picture, Griffith's 'Birth of a Nation.' Ince has excelled his > predecessor in the art of suggestion. In the vivid battle scenes of > 'Civllization,' there are four suggestive flashes for every one Griffith > gave us.
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A writer from the Sydney Morning Herald said that "This little photoplay... was beautifully photographed, so brightly, and with naturally, acted that it afforded vivacious entertainment to everyone in the theatre." Another review in The Sunday Times said: > In producing this film, Mr, Alfred Rolfe had much to cope with, but he has > made the best of a difficult job, and turned out a creditable piece of > celluloid amusement. Though Cupid Camouflaged is distinctly amateurish, and > there is an inclination to gaze into the camera's eyes, still, even > professionals are not always free from those weaknesses. Captain Saltmarsh > does his best with the role of the hero, and, when he lets himself go makes > quite a likeable character.
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In her first production, Shannon had a supporting cast that included at least half a dozen players who either had appeared as stars in their own right, or had seen their names in lights as featured players. Shannon was chosen as one of the WAMPAS Baby Stars of 1923, along with Eleanor Boardman, Evelyn Brent, Dorothy Devore, Virginia Browne Faire, Betty Francisco, Pauline Garon, Kathleen Key, Laura La Plante, Margaret Leahy, Helen Lynch, Derelys Perdue, and Jobyna Ralston. She appeared opposite Harry Carey in The Texas Trail (1925) and The New York Times proclaimed her "one of the best leading women you could imagine for this kind of photoplay."The New York Times, Jul.
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The company's first release was Polly of the Circus, an adaptation of Mayo's 1907 play Polly of the Circus, in September 1917 starting Mae Marsh. By April 1917, Goldwyn Pictures agreed to rent the Universal Pictures studios in Fort Lee, then having the second largest stage, and had two film companies operating at the time with plans for more production companies. The company management planned on having 12 films done by September 1, 1917 without distributing the films so as to be able to show advanced footage to the theaters. Goldfish also associated the company with Columbia University via Professor Victor Freeburg's Photoplay Writing class in 1917 to increase the company's artistic standings.
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PLAY: Rescued from an Eagle's Nest (duration 7:18) Rescued from an Eagle's Nest is a 1908 American silent action-drama film produced by Edwin S. Porter for Edison Studios and directed by J. Searle Dawley. It features the first leading screen role of the legendary American filmmaker D. W. Griffith, whose directorial debut was released just six months after he performed in this production. Griffith's casting in the Edison "photoplay" began when he found himself stranded and broke in New York City after a play he authored had failed. Desperate for money, he responded to Edison's offer to pay $15 to anyone who submitted a useable treatment or scenario based on the Puccini opera Tosca.
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" Maddin started shooting Seances in 2012 in Paris, France at the Centre Georges Pompidou and continued shooting at the Phi Centre in Montreal, Quebec, Canada. The film shoots themselves were presented as art installation projects, during which Maddin, along with the cast and crew, held a "séance" during which Maddin "invite[d] the spirit of a lost photoplay to possess them." Seances will be launched online by the National Film Board of Canada in 2015, in an interactive web project that allows users to randomly generate a combination of the 100 short films, "connected together into a paranormally eerie, semi-coherent whole." The number of films will ensure "hundreds of billions of unique permutations.
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Her one rule about frying: "DON'T! This is a rule not only of dietary, but of all sane cooking. Fried foods are certainly the origin of the chronic digestive troubles which identify the American (by his belch!) to doctors all over the world. There is nothing that should be fried." Rivera, Rebecca A. Syracuse Herald-Journal, 3 June 1984. Sylvia of Hollywood (right) from page 67 of her best-selling book No More Alibis.(Photoplay Publishing Chicago, 1934), photographer uncredited Sylvia's first client in Chicago was Julius Rosenwald (or in fact Rosenwald's grandmother)Yeaman, Elizabeth, Sylvia's Clever Hands Aid Stars To Keep Slender, Hollywood Daily Citizen, 17 September 1930. who introduced her to other wealthy clients.
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Stars > twinkled in the blue ceiling sky, and on the southernmost wall hung a full > Hawaiian moon presiding over a painted landscape and splashing waterfall. The Cocoanut Grove was Los Angeles' premier nightclub for famous celebrities and entertainers The Cocoanut Grove was frequented by celebrities such as Louis B. Mayer, Charlie Chaplin, Douglas Fairbanks, Mary Pickford, Howard Hughes, Clara Bow, Rudolph Valentino, Gloria Swanson, Anna May Wong, Norma Talmadge and others. According to Photoplay, Joan Crawford and Carole Lombard were frequent competitors in the Charleston contests held on Friday nights; Lombard was discovered at the Grove. The famous artificial palm trees that adorned the Cocoanut Grove were left from Rudolph Valentino's 1921 silent romantic drama film The Sheik.
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Taylor as Moses' sister Miriam in The Ten Commandments (1923) One of her most memorable roles is that of Miriam, the sister of Moses (portrayed by Theodore Roberts), in the biblical prologue of Cecil B. DeMille's The Ten Commandments (1923), one of the most successful films of the silent era. Her performance in the DeMille film was considered a great acting achievement. Taylor's younger sister, Helen, was hired by Sid Grauman to play Miriam in the Egyptian Theatre's onstage prologue to the film. Taylor as Mary, Queen of Scots, from Stars of the Photoplay (1924) Despite being ill with arthritis, she won the supporting role of Mary, Queen of Scots in Dorothy Vernon of Haddon Hall (1924), starring Mary Pickford.
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In 1933, Willson traveled to Hollywood by steamship via the Panama Canal. On board he cultivated a friendship with Bing Crosby's wife, Dixie Lee, who introduced him to the Hollywood elite and secured him a job with Photoplay, where his first article was about the newborn Gary Crosby. He began writing for The Hollywood Reporter and the New Movie Magazine, became a junior agent at the Joyce & Polimer Agency, moved into a Beverly Hills home purchased by his father, and became a regular at Sunset Strip gay bars, where he wooed young men for both professional and personal reasons. One of his first clients (and lovers) was Junior Durkin, whose career was cut short when he died in an automobile accident on May 4, 1935.
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" In the February 1925 issue of Theatre Magazine, Aileen St. John-Brenon wrote that "the persons in the photoplay are not characters, but types—they are well selected, weighed and completely drilled. But they did not act; they do not come to life. They perform their mission like so many uncouth images of miserliness and repugnant animalism." Mordaunt Hall of the New York Times gave the film a mostly positive review in regards to the acting and directing while criticizing how it was edited, writing that MGM "clipped this production as much as they dared ... and are to be congratulated on their efforts and the only pity is that they did not use the scissors more generously in the beginning.
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" Varietys review was favorable, too. "Big yen by the Hollywood film factories recently for remaking past hits is bound to get another hypo when this one gets around. Frank Capra has taken Mark Hellinger’s yarn, Broadway Bill, which he produced and directed for Columbia in 1934, and turned it into one of the best Bing Crosby starrers that’s come along for a considerable time." The film fan magazine Photoplay was very positive: "Just when folk were wondering when Bing Crosby’s lean season was due to end, along comes Frank Capra with a tailor- made story worthy of Bing's considerable talents... Full of high spirits, as fresh as a newly-cut sward, and deliciously humorous, this is without question the best Crosby film for years.
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Photoplay, 1929 She made her first film in 1924, and with her blonde hair, green eyes, delicate features, and good-natured demeanor, was cast in a string of supporting roles, where she was required to do very little but smile and look pretty. She proved herself capable of handling the small roles she was assigned, and over a period of time, she came to be taken seriously as an actress. By 1928, she was playing starring roles, achieving success in MGM's first talkie release, Alias Jimmy Valentine (1928) opposite William Haines, Lionel Barrymore, and Karl Dane. The following year, she appeared in the popular murder mystery The Thirteenth Chair, a role that offered her the chance to display her dramatic abilities as a murder suspect.
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In February 1914, she was one of the co-founders of the Photoplay Authors League – a precursor of the Screen Writers Guild – and during the first year of operation was elected vice president and a member of the board of control. In 1916, she went to work for Fox Film Corporation (later renamed Twentieth Century Fox) as a film editor. During her first year, she edited A Daughter of the Gods, Hollywood's first film with a million dollar budget, and, listed as H.G. Baker, may have been the first female editor to be acknowledged in a film's credits. She was the editor for Queen of the Sea (1918) starring Annette Kellermann, and The Iron Horse (1924), directed by John Ford.
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She contributed to Photoplay and other movie magazines and for a brief interlude during the World War II years she wrote for Variety. Harris reportedly counted among her steadfast friends such actors as Tyrone Power, Cary Grant, Simon Jones, Sally Ann Howes, Millicent Martin, Angela Lansbury, Gregory Peck, Katharine Hepburn, Laurence Olivier, Douglas Fairbanks Jr., Rosemary Harris, and Vivien Leigh, as well as author Jacqueline Susann. In later years, friends and family would visit her at the Actors' Fund Home in Englewood, New Jersey, where Harris spent her final years. Actress Coral Browne had portrayed a handicapped gossip columnist named Molly Luther, believed to have been based on Radie Harris, in the 1968 film, The Legend of Lylah Clare, which starred Kim Novak and Peter Finch.
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In 1944, Madison was visiting Hollywood on leave when his boyish good looks and physique caught the eye of Henry Willson, the head of talent at David O. Selznick's newly formed Vanguard Pictures. Willson was widely known for his stable of good-looking young actors with unusual names that he had bestowed upon them, and he immediately rechristened Moseley as Madison and cast him in a bit part as a sailor in Selznick's Since You Went Away (1944). Although only on the screen for three minutes, the studio received thousands of letters from fans wanting to know more about him. He received extensive coverage in the influential fan magazines of the time, including Photoplay where his agent Henry Willson had once worked.
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The Film Daily gave it a positive review in July 1920, stating that it as a whole was a "Good, old-fashioned racing meller that contained thrills a-plenty, heart interest, and all the other elements that should make it go ver big; well- acted and well-produced.". Photoplay also gave it a positive review, writing that it "[...] has a speed that never lets down, an electric sort of thrill in its most exciting episodes, and its heroics are of the style that recall those days when we shuffled our feet among the peanut-shells on the gallery floor and nearly fell over the rail whenever the heroine was in peril." By october 1919, the film had been seen by over 1,540,000 people, and had been shown 700 times in New York alone.
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Monroe as gangster's moll Angela in John Huston's The Asphalt Jungle (1950), one of her first performances to be noted by the critics In 1950, Monroe had bit parts in Love Happy, A Ticket to Tomahawk, Right Cross and The Fireball, but also appeared in minor supporting roles in two critically acclaimed films: Joseph Mankiewicz's drama All About Eve and John Huston's crime film The Asphalt Jungle. Despite her screen time being only a few minutes in the latter, she gained a mention in Photoplay and according to biographer Donald Spoto "moved effectively from movie model to serious actress". In December 1950, Hyde was able to negotiate a seven-year contract for Monroe with 20th Century-Fox. He died of a heart attack only days later, which left her devastated.
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In the reedited version, Virginia Pearson, who played Carlotta in the 1925 film, is credited and referred to as "Carlotta's Mother" instead. Most of the silent footage in the 1930 version is actually from a second camera, used to photograph the film for foreign markets and second negatives; careful examination of the two versions shows similar shots are slightly askew in composition in the 1930 version. In 2009, ReelClassicDVD issued a special edition multi-disc DVD set which included a matched shot side-by-side comparison of the two versions, editing the 1925 Show-At-Home print's narrative and continuity to match the Eastman House print. For the 2003 Image Entertainment–Photoplay Productions two-disc DVD set, the 1930 soundtrack was reedited in an attempt to fit the Eastman House print as best as possible.
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The story is credited to Frederick Hazlitt Brennan; the screen play stems from Lucille Newmark and Peter Milne; there is additional dialogue by one Patsy Flick. From these no less than mountainous labors comes a mousey little photoplay about two stranded chorus girls whose only hope of getting their fare back to Broadway is by winning a popularity contest with the votes of the enlisted men of the Pacific Fleet. Joan Blondell and Glenda Farrell, upon whose comic talents the Warners are placing too much emphasis, are the girls; Allen Jenkins is Kewpie Wiggins, their lobbyist in the fleet; Hugh Herbert is August Freytag, president of the Better Business Bureau sponsoring the contest. There is an allegedly humorous prizefight; there is a kidnapping; there is a comedy chase.
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There was a further change for the summer 1926 broadcasts, when WMAF began carrying programs supplied by WOR in Newark, New Jersey on Wednesday and Saturday evenings, in addition to Tuesday and Thursday night programs provided by WRNY in New York City."Wire Line Connects WRNY and WMAF", Radio World, August 7, 1926, page 6. For the summer of 1927 WOR repeated as WMAF's source for programming. That fall, WOR became the flagship station for the newly formed Columbia Broadcasting System (CBS), which debuted on September 18, a few days before WMAF shut down for the season. When WMAF resumed operations in the summer of 1928 it continued as an official CBS outlet."Eastern Station Now in Columbia Chain", Pittsburgh Press, July 15, 1928, Theatrical and Photoplay Section, page 6. WMAF ceased making regular broadcasts after the summer of 1928.
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She is alternately hoydenish and lovable, > gagging and demure; she burlesques Greta Garbo and Zasu Pitts and enacts the > balcony scene from Romeo and Juliet without making it ridiculous. ... Miss > Withers' scenes are of three kinds, those in which she is precocious and > amusing because possessed of a sophistication beyond her years; those in > which she is a child and charming for her childish ways and those where she > really acts. She acts, I am glad to report, a great deal and with much > vitality and her comic sense is a keen and lively one. The New York Times praised the film as "a fresh, human and warm photoplay, rich in natural values, sensitively directed by Lewis Seiler (who used to teach school in Brooklyn and should know children) and played for all it is worth by an excellent cast".
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Madison's character in Her Defiance is a strong willed woman, but she was usually cast as needy heroines, much different from the attitude the actress portrayed in her real life. Photoplay journalist William Henry reported, > Cleo Madison is a womanly woman – if she were otherwise she couldn't play > sympathetic parts as she does – and yet she is so smart and businesslike > that she makes most of the male population of Universal city look like > debutants when it comes right down to brass tacks and affairs." Cleo Madison > had answered Henry with, "One of these days men are going to get over the > fool idea that women have no brains and quit getting insulted at the thought > that a skirt-wearer can do their work quite as well as they can. And I don't > believe that day is very far distant, either.
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Lü Ban studied in the Film Actor Training School of the United Photoplay Service, and subsequently worked as an actor and a comedian in leftist theater and cinema in Shanghai in the 1930s. He made his debut as an actor in Crossroads (Shizi jietou, 1937). He quickly gained fame, and has been even called "the Oriental Chaplin". In 1948 he joined the Northeast Film Studio and the following year he was involved in the production of Bridge, the first feature film of the post-war, communist China. His first films were revolutionary melodramas: in 1950 he co-directed with Yi Lin the Heroes of Lüliang Mountain (Lüliang yingxiong, 1950); in 1951, with Shi Dongshan, New Heroes and Heroines (Xin ernü yingxiong zhuan); 1952 he directed Gate No. 6 (Liu hao men); in 1954, A Heroic Driver (Yingxiong siji), and in 1955 a musical, Chorus of the Yellow (Huangheda hechang).
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Both of those productions required Dawley to oversee the creation of large maritime sets inside Edison's Bronx studio, including the construction of upper and lower decks of sailing vessels, as well as fabricating simulated views of sea battles using small-scale models and silhouettes of warships."Edison Photoplays and Player", The Nickelodeon, January 7, 1911, p. 14. Internet Archive. Retrieved July 30, 2020. The "monster" depicted in Edison's promotion of Frankenstein in England Among Dawley's most notable directorial works and screenplays in this period is his 14-minute 1910 horror "photoplay" Frankenstein, which is the earliest known screen adaptation of Mary Shelley's 1818 novel. The production, loosely based on that "harrowing tale", was also staged and filmed in three days at Edison's Bronx facilities in mid-January 1910."Frankenstein", Film, Video Collection, Library of Congress (LOC), Washington, D.C. Retrieved August 29, 2020."Frankenstein (1910)". AFI.
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The production of this photoplay at this particular time has caused > many unexpected difficulties to be placed in the path of Director Dawley, > because of the strict quarantines which have been placed upon itinerant > citizens because of the paralysis plague. As a result of these numerous > obstacles, Mr. Dawley was forced to arrange with one of the circuses which > was on Long Island to have it apparently disband and travel back to New York > in small units, with the Famous Players studio as their rendezvous. Then the > tent was set up in a large vacant lot on the west side and the scenes were > taken. Miss Pennington, who is a remarkably clever athlete and is a trained > acrobat, has already done some very startling feats in the "show" and she > predicts that she will accomplish even more before the end of the pictureThe > Moving Picture World, Volume 29; July–September 1916; pg.
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Salad Days, Douglas Fairbanks Jr. writing in his autobiography, c.1980 The New Castle News of Pennsylvania called it a "remarkable picture" which "represents the finest in motion picture art", considering it to be the biggest picture of the year. The Post-Crescent of Appleton, Wisconsin heavily praised the cast and cinematography, referring to it as "a picture of rich, colorful beauty of heart-searing pathos, of poetry that sings in action of courageous deeds of emotions as violent and eternal as the terrific storms that sweep through the picture". Mordaunt Hall of The New York Times noted the "energy, earnestness and virility" John Barrymore displayed in the role of Ahab Ceeley, and stated that his "real triumph in this photoplay comes in the second half of the picture, for he has a great opportunity as the grim master of a whaler with a mixed crew of half-mad yellow, white and black scum".
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She wrote in the November issue of Photoplay about how she looked forward to their marriage and would continue her career. In early 1942, the engagement to Barry ended after she met Joseph Howard, a young Army Air Corps lieutenant, at a dude ranch in the Mojave Desert. A native of Lawrence, Massachusetts, he had joined the Army Air Corps straight from college in 1939. He was scouting the area for likely sites for air bases and had taken a short vacation. The couple were married on May 22, 1942, in Las Vegas, Nevada, at the home of the executive officer of an Army Air Force gunnery school. At the war's end in 1945, Lane and Howard were living in New Mexico and she was pregnant with their first child. Their son, Joseph Lawrence, was born on December 31, 1945. In 1946, after Howard's discharge from the service, the couple moved back to California, where they resided in Victorville.
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Part One dealt with the arrival of General Pugh (Geoffrey Keen), who had been ordered by the War Office to smash the smuggling ring and prevent the Scarecrow from rescuing a Dymchurch man captured by a naval press gang as bait to trap the Scarecrow. Part Two depicted The Scarecrow dealing with the traitorous Joe Ransley (Patrick Wymark). Part Three showed how the Scarecrow rescued Harry Banks (David Buck) and American Simon Bates (Tony Britton) from General Pugh's clutches in Dover Castle. While originally conceived and edited for American television (and announced in an advertisement by NBC in the Tuesday, July 9, 1963 issue of The Hollywood Reporter), The Scarecrow of Romney Marsh was re-edited for a British theatrical run before the American television debut. Retitled Dr. Syn, Alias the Scarecrow, the British theatrical version was released on a double bill with The Sword in the Stone, and ran during the 1963 Christmas season (advertised in the January 1964 issue of Photoplay).
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The Morning Telegraph praised the film stating that "it is many a day since Mr. Blackton has made a better picture, not only has he handled a strong story with intelligent dignity and repression, but he has skillfully avoided an interpretation which easily could have made it objectionable to the censors and the censorious". A reviewer for the New York Evening Post blasted the film saying, "How anything so frightfully poor, so hilariously ridiculous and generally terrible could ever be screened at all, much less shown at a Broadway house, passeth comprehension...it's so thoroughly atrocious that the problem of trying to review it staggers the mind of ye reviewer". Henriette Sloane gave the film a positive review in the Exhibitors Trade Review, stating that it was "armed with an unusually strong cast of noted stars...and was a very satisfactory and decidedly entertaining photoplay which should provide the average audience with a very pleasant matinee or evening". She also noted that the "story is alive with romance, thrills and suspense".
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Dyer has also argued that Monroe's blonde hair became her defining feature because it made her "racially unambiguous" and exclusively white just as the civil rights movement was beginning, and that she should be seen as emblematic of racism in twentieth-century popular culture. Banner agreed that it may not be a coincidence that Monroe launched a trend of platinum blonde actresses during the civil rights movement, but has also criticized Dyer, pointing out that in her highly publicized private life, Monroe associated with people who were seen as "white ethnics", such as Joe DiMaggio (Italian-American) and Arthur Miller (Jewish). According to Banner, she sometimes challenged prevailing racial norms in her publicity photographs; for example, in an image featured in Look in 1951, she was shown in revealing clothes while practicing with African-American singing coach Phil Moore. Monroe in a Lustre-Creme shampoo advertisement in 1953 Monroe was perceived as a specifically American star, "a national institution as well known as hot dogs, apple pie, or baseball" according to Photoplay.
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A talent scout for RKO Pictures attended a performance, and Dunne signed the studio's contract, appearing in her first movie, Leathernecking (1930), an adaptation of the musical Present Arms. Already in her 30s when she made her first film, she would be in competition with younger actresses for roles, and found it advantageous to evade questions that would reveal her age, so publicists encouraged the belief that she was born in 1901 or 1904; the former is the date engraved on her tombstone. Dunne in Love Affair (1939) The "Hollywood musical" era had fizzled out so Dunne moved to dramatic roles during the Pre-Code era, leading a successful campaign for the role of Sabra in Cimarron (1931) with her soon-to-be co-star Richard Dix, earning her first Best Actress nomination. A Photoplay review declared, "[This movie] starts Irene Dunne off as one of our greatest screen artists." Other dramas included Back Street (1932) and No Other Woman (1933); for Magnificent Obsession (1935), she reportedly studied Braille and focused on her posture with blind consultant Ruby Fruth.
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Born in Louisiana, Coleman began his acting career while still a young boy; touring the United States with the Cecil Spooner stock theater company. Occasionally credited in the early years of his career as Willie B. Coleman, he made the transition to film in the 1912 Frank Montgomery drama short The Junior Officer at age twelve opposite film actors Hobart Bosworth and Camille Astor before returning to Broadway at the age of sixteen to appear in the 1917 play Difference in Gods.Internet Broadway Database Coleman then returned to filmmaking to play a variety of juvenile roles for such film studios as Fox, Goldwyn Pictures Corporation, First National and Paramount opposite such actors as Corinne Griffith, Mae Murray, Constance Talmadge and Constance Binney.Silent Ladies & Gents: Photoplay: Who's Who on the Screen (1920) At the beginning of the 1920s, Hollywood film producers took notice of the handsome, fair, young actor and saw in Coleman a possible "All American" matinee idol to counter the "Latin lover" types such as Ramón Novarro, Antonio Moreno and Rudolf Valentino that were becoming increasingly popular among the nation's theater-goers.
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"In Miss Jerry my purpose has been to test experimentally, in a quiet story, certain possibilities of illusion, with this aim always before me, that the illusion should not, because it need not and could not safely, be that of photographs from an acted play, nor of artistic illustration, but the illusion of reality'." Aware of the progress made by Eadweard Muybridge and other photographers towards the illusion of motion, Black instead set out to present a convincing narrative story in front of an audience, using still photography to present fiction in a convincing way, rather than a perfect illusion of motion. In his 1926 history of the movies, A Million and One Nights the author Terry Ramsaye says: :While the motion picture was progressing with mincing steps in the peep show Edison Kinetoscope the sheer force of the evolution of expression presented the world with an interesting paradox – the birth of the photoplay upon the screen. . . Black arrived at a rate of four slides a minute for his presentation. The plan was to make the pictures successively blend into one another in the dissolving stereopticon, avoiding an optical ‘jar’ as much as possible.
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May Collins - July 1921 Photoplay May Collins (26 May 1903 – 6 May 1955), an American actress on stage and in silent films, was the star in several of the first of the modern romantic comedies to reach the movie screen. Basil Sydney and May Collins Basil Sydney, May Collins and an unidentified actor in Red Hot Romance (1922) John Emerson, Collins, screenwriter Anita Loos, and director Victor Fleming from Red Hot Romance (1922) Red Hot Romance (1922) - Makeup Test The Shark Master (1921) The daughter of Benjamin Collins and Lillie Smith,New York Marriage record "m161454", "NYC certificate 18636", August 8, 1930 she spent most of her early life in New York City. At the age of four years she saw Peter Pan on stage and it was said that after the play she ran out to the stage door to catch a glimpse of the main star, Maude Adams. “I ran up to her calling ‘oh Peter Pan,’” said Collins in an interview, “…Miss Adams raised me up in her arms and gave me a kiss.”"Los Angeles Times April 17, 1921" May Collins started out as a member of Mrs.
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