Silent Movie History – Page 2 – Old Magazine Articles

Hollywood Star Condemns the Draft
(Photoplay Magazine, 1917)

The silent film actor J. Warren Kerrigan (1882 – 1947; played in such films as Captain Blood, Samson and Delilah and The Covered Wagon) was singled out for ridicule following a poorly conceived remark that all artists should be exempted from military service. The editors of Photoplay Magazine counter-attacked with a short list of the creative souls who have served regardless of their talents to entertain or provoke thought.

Apparently getting skewered in the press had no effect on him; he still wouldn’t register for the draft for another thirteen months.

Moral Corruption in Hollywood
(The Smart Set, 1922)

Appearing in their monthly column, Repitition Generale, H.L. Mencken and George Jean Nathan briefly explored the reoccurring topic regarding Hollywood immorality:

So long as the majority of figures in the field of movies are recruited from the social and aesthetic slums, so long will the smell of Lime house cling to the movie’s scandals.

Speaking of moral corruption, read this article about the actor Errol Flynn…

Jack Dempsey In Silent Movies
(Motion Picture News & Vanity Fair, 1919)

Two articles from two different magazines reported the news that the World Champion Boxer of 1919, Jack Dempsey (1895 – 1983), would soon try his hand at movie acting. The Vanity Fair item is actually a cartoon by that old sentimentalist, John Held, Jr.(1889-1958).

In the future, other athletes would follow in his steps to Hollywood; his fellow boxer Gene Tunney would follow him out there eight years later (The Fighting Marines). Swimmers Buster Crabbe (Buck Rogers) and Johnny Weissmuller (Tarzan) got the fever and came out during the early days of sound movies.

Stage Productions Must Compete With Movies
(Harper’s Weekly, 1915)

A thoughtful look at all that stage productions have had to learn while competing for audiences with the early (and exciting) Hollywood film industry:

There is no doubt that the moving picture was responsible for the disappearance of the second-class theatre devoted to traveling companies, giving lurid melodramas and plays of obvious sentiment [but] instead of taking a lesson from the history of this form of amusement, which it helped to kill, the moving picture theatre imitated one of it’s very worst features.

WINGS: Directed by William Wellman
(Life Magazine, 1927)

Appearing in an issue of [the old] Life Magazine, that was almost entirely devoted to the 1927 American Legion convention in Paris, was this Robert Sherwood review of the blockbuster silent film Wings. Directed by an American Air Corps veteran, William Wellman (1896 – 1975), Wings was the only silent film to win an Academy Award for Best Picture (at that time the category was titled Most Outstanding Production).

European Praise for American Silent Comedies
(Photoplay Magazine, 1931)

Written at a time when it was widely recognized that the silent film era had finally run it’s course and talking pictures were here to stay, the film critic for the Sunday Express (London) stepped up to the plate and heaped praise on the Hollywood film colony for having produced such an abundance of sorely-needed comedies which allowed Europe to get through some difficult times:

While German films were steeped in menacing morbidity and Russian films wallowed in psychopathic horrors; while Swedish film producers turned to Calvinistic frigidities, and Britain floundered in apologetic ineptitude…Hollywood’s unfailing stream of fun and high spirits has kept the lamp of optimism burning in Europe.

‘Let’s Go to the Moving Photograph Show!”
(Motion Picture Magazine, 1915)

Attached is the reminiscence of a movie-goer named Homer Dunne who recalled his feelings upon first attending a moving photograph show during the closing days of the Nineteenth Century. He described well the appearance of the rented shop-front, the swanky ticket-taker, the unimpressed audience and has a laugh on himself for failing to understand the significance of the medium.

Silent Films and the Lexicographers
(Motion Picture Magazine, 1916)

This small notice appeared on the pages of the March, 1916, issue of MOTION PICTURE MAGAZINE reporting that the overwhelming popularity of the new entertainment medium, and the public’s curiosity with the manner in which they are produced, is beginning to have an impact on the everyday language of the English-speaking world:

When a thing takes hold of a whole people its idiom enters the language; its individual verbiage begins to limber-up the common speech.

So the idiom of active photography has entered the English language, at least wherever the English language is Americanized. The self-conscious valedictorian is told not ‘to look into the camera’. The reporter writing of a street murder terms his description of the underlying cause a ‘cut-back’.

– and most interestingly, one of the most popular elements of Hollywood verbiage is mentioned as having been noticed by the lexicographers: close-up.

The N.Y. TIMES reported that the verb to film was entered into the dictionary in 1914,.

1919: United Artists is Formed
(Film Cavalcade, 1939)

A printable history of United Artists spanning the years 1919 through 1939 which also outlines why the organization was so original:

[United Artists] introduced a new method into the industry. Heretofore producers and distributors had been the employers, paying salaries and sometimes a share of the profits to the stars. Under the United Artists system, the stars became their own employers. They had to do their own financing, but they received the producer profits that had formerly gone to their employers and each received his share of the profits of the distributing organization.

Fearing German Filmmakers
(Current Opinion, 1921)

Teutonic film producers must have gotten a good guffaw upon reading the attached article that announced how insecure Hollywood producers felt when faced with the filmmakers of Germany. These intimidated studio heads and distributors believed that the Germans had a leg-up on Hollywood due to the high quantity of well-trained actors, crew and writers who had benefited from the traditions set forth generations earlier in German theater – so much so that they beseeched the law givers in Washington to protect them from these Germans…

The Scenario Formula EXPOSED
(Photplay Magazine, 1920)

Cartoonist Ralph Barton and funny man Howard Dietz put together this nifty six-panel comic strip in order to ridicule the Hollywood screen writers and expose that crowd to be the tiresome dullards that they were (they’ve since reformed) and they also had the odd vision that the gag would be posted on a web page some eighty-six years in the future.

Converted Film Haters
(Photoplay Magazine, 1920)

Tin Pan Alley songster (and later Hollywood musical composer) Howard Dietz (1896-1983) penned this verse for Vanity Fair in celebration of the persuasive charm of film:

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.

The Rebellion of Theda Bara
(Vanity Fair, 1919)

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.

Erich von Stroheim: an Immigrant’s Story
(Motion Picture Magazine, 1920)

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.

Theda Bara: Sex Symbol
(The Atlanta Georgian, 1917)

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.

British Actor James Knight
(Picture Show Magazine, 1919)

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!

Blanche Sweet Interviewed
(Motion Picture Magazine, 1916)

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.

‘Youth, the Spirit of the Movies”
(Illustrated World, 1921)

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.