Wesley Barry
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Heroes of the Street
Heroes of the Street US : 1922 : dir. William Beaudine : Warner Bros Silent : ? min prod: : scr: Edmund Goulding & Mildred Considine : dir.ph.: Wesley Barry; Joe Butterworth …………….………………………………………………………… Marie Prevost; Jack Mulhall; Wilfred Lucas; Aggie Herring; Phil Ford Ref: Pages Sources Stills Words Ω 8 M Copy on VHS Last Viewed 5237 2.5 1 2 758 - - - - - No unseen “Stick yer dukes up! ” – Wesley Barry takes on a boy at least half his size.. Source: Warner Bros Story The Warner Bros Story comment: policeman father’s murder. He was supported in his efforts by Marie Prevost as a wise- “ "HEROES OF THE STREET" was an cracking no-nonsense chorus girl. Also among early example of the sort of gangster drama the capable cast were Jack Mulhall, Wilfred that found its richest expression less than a Lucas, Aggie Herring, Joe Butterworth and decade later. It was directed by William Phil Ford.” Beaudine from Edmund Goulding and Mildred Considine’s screenplay taken from the play by Lee Parker. Wesley Barry played a young lad who sets out to solve the riddle of his Director Beaudine sizes up Wesley Barry on the set Source: The Warner Bros Story Excerpt from The Moving Picture Boy entry out of a part than Wesley does out of Sticker, on Wesley Barry: neither the screen nor the stage has any record of the event." “Mickey Rooney’s predecessor as Boy of the People was also red-haired, but skinnier and During 1920 Wesley got his first incon- more elfish, the son of a grocer. He was trovertible lead in the title role of "PENROD", discovered by Marshall Neilan, who was to a feature-length kid film based on the 1914 direct some of his best films. -
Gloria Swanson
Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B. -
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir. -
Camera (1920-1922)
7 l Page To>o "The Digest of the Motion Picture Industry” CAM ERA A Liberal Privilege of Conversion Besides the safety of enormous assets and large and increasing earnings, besides a substantial and profitable yield, there is a very liberal privilege of conversion in the $3 , 000,000 Carnation Milk Products Company Five-Year Sinking Fund 7 % Convertible Gold Notes notes convertible at option after November I creased in past five years. These are , over 400% 1921, and until ten days prior to maturity or redemption into Total assets after deducting all indebtedness, except this note, 7% Cumulative Sinking Fund Preferred Stock on the basis of amount to more than four times principal of this issue. I 00 for these notes and 95 for the stock. With these notes Net earnings for past ten years have averaged more than four at 96J/2 this is equivalent to buying the stock at 91 /i- and one-half times interest charges, and during the past five Thus you see that at your option you have either a long- years more than seven times. term, high yielding preferred stock or a short-term, high- There is no other bonded or funded indebtedness and at yielding note. Preferred stock is subject to call at 1 1 0 and present no outstanding preferred stock. accrued dividends, and the usual features of safety. You will want to invest your savings and surplus funds in This Company is one of the largest and most successful of its this decidedly good investment. Call, write or phone for kind in America. -
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 i UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 FESTIVAL SPONSOR Additional programming support provided, in part, by The Hollywood Foreign Press Association ii 1 FROM THE DIRECTOR As director of UCLA Film & Television Archive, it is my great pleasure to Mysel has completed several projects, including Cry Danger (1951), a introduce the 2011 UCLA Festival of Preservation. As in past years, we have recently rediscovered little gem of a noir, starring Dick Powell as an unjustly worked to put together a program that reflects the broad and deep efforts convicted ex-con trying to clear his name, opposite femme fatale Rhonda of UCLA Film & Television Archive to preserve and restore our national mov- Fleming, and featuring some great Bunker Hill locations long lost to the Los ing image heritage. Angeles wrecking ball. An even darker film noir, Kiss Tomorrow Goodbye (1950), stars James Cagney as a violent gangster (in fact, his last great This year’s UCLA Festival of Preservation again presents a wonderful cross- gangster role) whose id is more monstrous than almost anything since Little section of American film history and genres, silent masterpieces, fictional Caesar. Add crooked cops and a world in which no one can be trusted, and shorts, full-length documentaries and television works. Our Festival opens you have a perfect film noir tale. with Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982). This restoration is the first fruit of a new project to preserve Our newsreel preservationist, Jeff Bickel, presents his restoration of John and restore the artistic legacy of Mr. -
The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters
The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters THOMAS JAMES SCOTT, University of Ulster ABSTRACT This paper will consider cinematic depictions of the Irish between 1910 and 1930. American cinema during these years, like those that preceded them, contained a range of stereotypical Irish characters. However, as cinema began to move away from short sketches and produce longer films, more complex plots and refined Irish characters began to appear. The onscreen Irish became vehicles for recurring themes, the majority of which had uplifting narratives. This paper will discuss common character types, such as the Irish cop and domestic servant, and subjects such as the migration narrative, the social reform narrative and the inter-ethnic comedy. It will also briefly consider how Irish depictions in the 1910s and 1920s compared to earlier representations. While the emphasis will be on films viewed at archives, including the University of California, Los Angeles Film and Television Archive, or acquired through private and commercial sellers, the paper will also reflect on some films that are currently considered lost. KEYWORDS Irish, cinema, representation, stereotypes, migrants. Introduction Feature Productions’ early ‘talkie’ Irish Fantasy (Orville O. Dull, 1929) should be considered important for two reasons. One, it is one of the earliest Irish-themed musicals to survive in its entirety. Two, it was produced by William Cameron Menzies, who would go on to win an Academy Award for his production design on MGM’s Gone With the Wind (Victor Fleming, 1939). The film centres on an old Irish man explaining the meaning of the three leaves of the shamrock to his uninformed grandson, who remarks ‘sure they’re only weeds.’ The first leaf signifies what the Irish are, ‘happy-go-lucky with warm blood in our hearts.’ The second symbolises the big hearts of the Irish who were forced to migrate to America. -
Lost Silent Feature Films
List of 7200 Lost U.S. Silent Feature Films 1912-29 (last updated 11/16/16) Please note that this compilation is a work in progress, and updates will be posted here regularly. Each listing contains a hyperlink to its entry in our searchable database which features additional information on each title. The database lists approximately 11,000 silent features of four reels or more, and includes both lost films – 7200 as identified here – and approximately 3800 surviving titles of one reel or more. A film in which only a fragment, trailer, outtakes or stills survive is listed as a lost film, however “incomplete” films in which at least one full reel survives are not listed as lost. Please direct any questions or report any errors/suggested changes to Steve Leggett at [email protected] $1,000 Reward (1923) Adam And Evil (1927) $30,000 (1920) Adele (1919) $5,000 Reward (1918) Adopted Son, The (1917) $5,000,000 Counterfeiting Plot, The (1914) Adorable Deceiver , The (1926) 1915 World's Championship Series (1915) Adorable Savage, The (1920) 2 Girls Wanted (1927) Adventure In Hearts, An (1919) 23 1/2 Hours' Leave (1919) Adventure Shop, The (1919) 30 Below Zero (1926) Adventure (1925) 39 East (1920) Adventurer, The (1917) 40-Horse Hawkins (1924) Adventurer, The (1920) 40th Door, The (1924) Adventurer, The (1928) 45 Calibre War (1929) Adventures Of A Boy Scout, The (1915) 813 (1920) Adventures Of Buffalo Bill, The (1917) Abandonment, The (1916) Adventures Of Carol, The (1917) Abie's Imported Bride (1925) Adventures Of Kathlyn, The (1916) Ableminded Lady, -
Figure 4. Pickford Studio Portrait for the Poor Little Rich Girl (Dir
Figure 4. Pickford studio portrait for The Poor Little Rich Girl (dir. Maurice Tourneur, 1917). Courtesy of the Academy of Motion Picture Arts and Sciences. UC-Studlar-text-CS5.5-revs.indd 18 9/17/2012 11:33:13 AM Chapter 1 Oh, “Doll Divine” Mary Pickford, Masquerade, and the Pedophilic Gaze Mary Pickford, doll divine, Year by year, and every day At the moving-picture play, You have been my valentine. — Vachel Lindsay, “To Mary Pickford, Moving-Picture Actress” Mary Pickford was, arguably, the most famous woman of the first quar- ter of the twentieth century. Inarguably, she was one of the first major stars of the Hollywood film industry and one of the very few — female or male — able to sustain stardom for more than twenty years. Born Gladys Smith in Toronto, Canada, Mary Pickford became a stage actress at age six (published age “5”). She first appeared in motion pictures in one-reel- ers of American Biograph in the spring of 1909. In the 1910s the actress known as “Our Little Mary” quickly cemented her popularity through numerous films that coincided with the industry’s shift to Hollywood and using the actor as a personality for drawing audiences to the box- office.1 Pickford was promoted as “America’s Sweetheart,” “The World’s Sweetheart,” and, as poet Vachel Lindsay dubbed her, “The Queen of the Movies.”2 Her films for Famous Players in the late 1910s regularly netted more than a million dollars a year. In 1918 an article in American Magazine proclaimed what by then was obvious: “Our Little Mary” had become “the most popular motion -
Associated First National Franchise (1921-1922)
NOVEMBER 15, 1921 THE VOLUME 1. No. 21 ASSOCIATED FIRST NATIONAL FRANCHISE Champion police A You’ll See Him dog, a prize winner in H. 0. Davis’ that will fill your 44 THE SILENT CALL” theatre. See page 8. An Extraordinary Picture $10 REWARD FOR ANY LIE OR MISSTATEMENT FOUND IN FRANCHISE Franchise Has a Guaranteed Circulation in Excess of 10,000 Theatres This Sounds Like a Fairy Tale But It’s The Gospel Truth! A certain amateur film enthusiast, who as yet prefers to remain unknown, decided to take a flier in the picture bus- iness on his own account. He is an ardent movie fan, he thought he knew how pictures should be made and was willing to back his judgment at no matter what cost. By an arrangement with us he engaged Marshall Neilan to direct the picture between his regular First National releases. As money didn't matter, he engaged John Barrymore to play the leading role. Neilan had a free hand on the pro- duction. He assembled a fine cast, including Wesley Barry, Anna Q. Nilsson, Coleen Moore, J. Barney Sherry and other well known film players. The vehicle selected was Albert Payson Terhune's story, "THE LOTUS EATER," the tale of a young man of twenty-five who saw a woman for the first time when he stepped off the palatial yacht upon which his millionaire father's will had held him prisoner. In our opinion the picture is one of the most dramatic, most beautiful, and altogether most perfect productions yet made. Associated First National Pictures, Inc. -
Wesley Barry Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
Wesley Barry 电影 串行 (大全) Bob Hampton of Placer https://zh.listvote.com/lists/film/movies/bob-hampton-of-placer-61450822/actors Johanna Enlists https://zh.listvote.com/lists/film/movies/johanna-enlists-3808913/actors The Country Kid https://zh.listvote.com/lists/film/movies/the-country-kid-16954278/actors Hot Curves https://zh.listvote.com/lists/film/movies/hot-curves-18150785/actors Rich Relations https://zh.listvote.com/lists/film/movies/rich-relations-7323424/actors The White Circle https://zh.listvote.com/lists/film/movies/the-white-circle-3220947/actors Sunny Skies https://zh.listvote.com/lists/film/movies/sunny-skies-17296461/actors Her Kingdom of Dreams https://zh.listvote.com/lists/film/movies/her-kingdom-of-dreams-3133361/actors The County Fair https://zh.listvote.com/lists/film/movies/the-county-fair-7727816/actors Amarilly of Clothes-Line https://zh.listvote.com/lists/film/movies/amarilly-of-clothes-line-alley-335683/actors Alley The Lotus Eater https://zh.listvote.com/lists/film/movies/the-lotus-eater-15916806/actors Wife, Doctor and Nurse https://zh.listvote.com/lists/film/movies/wife%2C-doctor-and-nurse-16028583/actors Dinty https://zh.listvote.com/lists/film/movies/dinty-5278744/actors School Days https://zh.listvote.com/lists/film/movies/school-days-48672826/actors The Thoroughbred https://zh.listvote.com/lists/film/movies/the-thoroughbred-22137032/actors Border Romance https://zh.listvote.com/lists/film/movies/border-romance-17622261/actors Rags to Riches https://zh.listvote.com/lists/film/movies/rags-to-riches-48673882/actors -
Frances Marion and Mary Pickford
FRANCES MARION AND MARY PICKFORD A Thesis Presented to The Faculty of California Polytechnic State University, San Luis Obispo In Partial Fulfillment Of the Requirements for the Degree Master of Arts in History by Christopher Zeidel March 2009 © 2009 Christopher Zeidel ii All Rights Reserved COMMITTEE MEMBERSHIP TITLE: Frances Marion and Mary Pickford iii AUTHOR: Christopher Zeidel DATE SUBMITTED: March 2009 COMMITTEE CHAIR: Thomas R. Trice, Associate Professor COMMITTEE MEMBER: Kathleen Cairns, Part Time Lecturer COMMITTEE MEMBER: John G. Snetsinger, Part Time Lecturer ABSTRACT Frances Marion and Mary Pickford Christopher Zeidel iv This thesis attempts to find out how Frances Marion and Mary Pickford survived the film industry by having a strong working relationship. It is revealed through letters, films, autobiographies, and newspapers that Marion and Pickford were good friends and had worked closely together for years. Their friendship helped them to work hard enough to continue making films between the late 1910s and 1920s. Unfortunately, this topic is challenging because there has not been enough historical work done to give us a completely clear and accurate picture of how Marion and Pickford helped one another to continue working in the movie industry. More information is available on their careers that have nothing to do with their relationship. There were ways in which they struggled to work and reasons for why they survived the industry that have nothing to do with their working relationship. TABLE OF CONTENTS v CHAPTER I. INTRODUCTION…………………………………………. 1 II. CHAPTER 1: HISTORIANS……………………………… 7 III. CHAPTER 2: THE LETTERS…………………………….. 24 IV. CHAPTER 3: THE FILMS………………………………… 33 V. -
This Item Is the Archived Peer-Reviewed Author-Version Of
This item is the archived peer-reviewed author-version of: Letters from a Well-Known Woman: domesticity and professionalism in Mary Pickford's Daily Talks (1915- 1917) Reference: Brouw ers Anke.- Letters from a Well-Know n Woman: domesticity and professionalism in Mary Pickford's Daily Talks (1915-1917) Celebrity studies - ISSN 1939-2397 - 8:3(2017), p. 424-444 Full text (Publisher's DOI): https://doi.org/10.1080/19392397.2017.1304225 To cite this reference: https://hdl.handle.net/10067/1431120151162165141 Institutional repository IRUA Letters From a Well-Known Woman: Domesticity and Professionalism in Mary Pickford’s ‘Daily Talks’ (1915-1917) Anke Brouwers (University of Antwerp and KASK School of Arts, Ghent) Prinsstraat 13 2000 Antwerpen [email protected] Abstract In the mid-teens of the twentieth century, when cinema had just reached its status as ‘big business,’ one of the silent screen’s most prolific and powerful stars, Mary Pickford, addressed her large and growing audience through a syndicated celebrity advice column, ‘Daily Talks’ (1915-1917). These columns, often in the form of ‘letters,’ reveal how Pickford’s star image was in the midst of being constructed and adjusted both textually (in the columns and other print publications) and visually (in her films and photographic material in wide circulation). They also illustrate how early forms and discourses of movie star celebrity culture addressed serious matters such as gender politics in the largest sense and reflected on and conversed with social, political and economic trends in contemporary culture. As such, the discourse in the ‘Daily Talks’ attempts a precarious balance between Pickford’s working class girl origins and her successful businesswoman stature, between proto-feminist or progressive attitudes on gender and work, and a peculiar a-feminist, conservative reflex, which would become increasingly at odds with her own career and private life.