Tin Pan Alley songster (and later Hollywood musical composer) Howard Dietz
We used to sneer at movies; they were vulgar
To our aesthetic, cultured sort of mind;
Amusement for the lowbrows or people who had no brows…
Click here to read magazine articles about D.W. Griffith.
Disgusted with being remembered for only playing the role of vampires, Theda Bara wrote this piece where she listed several sound reasons as to why she would never play such a roll again:
To me, there is nothing so quaintly naive as this inability of the moving picture public to disassociate the screen personality of a star from his or her own personality. I wonder what they think a Mack Sennett bathing girl must be like around the house.
Silent movie legend Erich von Stroheim (1885 – 1957) gave an account of his life and career in this 1920 interview printed in Motion Picture Magazine. The article touches upon von Stroheim’s roll as producer for the movie Blind Husbands (1919), but primarily concentrates on his pre-Hollywood life and his disappointment with the provincial nature of American films.
An enthusiastic review of the Hollywood silent film, The Tiger Woman (1917) starring the first (but not the last) female sex symbol of the silent era, Theda Bara (born Theodosia Burr Goodman; 1885-1955).
This very brief review will give you a sense of how uneasily many men must have sat in their chairs when she was pictured on screen.
She is a very tigerish ‘Tiger Woman’ in this picture. Her heart, her soul, her finger tips, her eyelashes, her rounded arms, her heaving buzzum, all vibrate to a passion for pearls.
Theda Bara retired in 1926, having worked in forty-four films.
Click here to read articles about Marilyn Monroe.
If you’ve been jumping from site-to-site for the past twenty minutes looking for reliable information regarding the early career of a silent film actor of the U.K. persuasion who was known as James Knight (1891 – 1948) – you have found it. Click the title above, gaze at the digitized image of his smiling mug and read on!
An interview with the silent film actress, Blanche Sweet (1895-1986) who, at that point in her career, had been a photoplayer (ie. an actor) for only six years. Prior to her contract with The Lasky Company, where she was obliged to perform at the time of this interview, she had toiled in the vineyards of such studios as Reliance and Biograph (where she was nick-named, The Biograph Blonde). Unlike her co-swells in that young industry, who liked to read and re-read their recent interviews from Motion Picture Magazine while loitering around the sets, we read that Blanche Sweet was very fond of reading Tennyson, Kipling and the novels of Edward Phillips Oppenheim (1866-1946). During the course of her career she had appeared in well over one hundred films.
Click here to read magazine articles about D.W. Griffith.
Click here to read articles about another Hollywood blonde: Marilyn Monroe.
Screen director D.W. Griffith declared in this article that youthful, energetic performers and writers are needed in the young and vigorous film industry of the Twenties:
We need youth because the most successful screen stars are not harassed by the technique of the older stage and the requirements of the newer art are very largely different. So a new kind of actor has come to be—the screen actor—just as a new kind of writer is coming to be—the screen-writer. But that isn’t all!… An audience loves a sweet and kindly face on the screen as in life. The surest guide in the world to lead us out of our daily troubles is a little star who is sweet and gentle and kind, like youth with all its yearnings and simplicity.
When the silent film era had run it’s course and the talkies were growing in popularity, Hollywood’s honeymoon with Will Hays was long over. In 1929 Hays’ association with Harry Sinclair of the Consolidated Oil Corporation was called into question by a number of Washington Senators. In 1924, Hays, the man who’s reputation was supposed to be beyond reproach, performed poorly before a Senate committee when asked to explain his 1920 roll as the go-between who collected a $75,000.00 donation from Sinclair in order to fill the coffers of the Republican National Committee. There were allegations of dubious gifts in exchange for this service and the Hollywood community, which has no difficulty generating it’s own scandals and needed no help from Will Hays, thank you very much, began to grumble. Various assorted unkind remarks concerning Will Hays were printed in this short article that appeared in a long forgotten Hollywood trade publication.
Click here if you would like to read about Will Hays and his 1922 arrival in Hollywood.
If you would like to read about the films of the 1930s, click here.
Click here to read a 1939 article about an alumni organization for the pioneers of silent films.
This short notice is about Will Hays, an Elder in the Presbyterian Church, who was hired to be the conscience of the Dream Factory in 1922; he rode into Hollywood on the heels of a number of well-publicized scandals vowing to sober the place up. Widely believed to be a moral man, the Hays office was located in New York City – far from the ballyhoo of Hollywood. Hays’ salary was paid by the producers and distributors in the movie business and although he promised to shame the film colony into making wholesome productions, he was also the paid apologist of the producers.
This article is about the 1935 founding of the Museum of Modern Art Film Library. Established with funding by the Rockefeller Foundation, today the MOMA Film Library is comprised of more than 14,000 films and four million motion picture stills.
