Friday, March 29, 2013
Vitagraph during 1919 had advertised its onscreen images as being "As brimful of Appeal, of Allurement, of Unexpectedness, of Radiance and Feminine Witchery as- Girls Themselves" as it brought actress Corinne Griffith to the screen in The Girl Problem, under the direction of Kenneth Webb.
It was a year readying for a new decade with D. W. Griffith at Artcraft directing The Girl Who Stayed Home and Thomas Ince heading the production of Dorothy Dalton in Extravagence. And yet Paramount was advetising Elsie Ferguson in Counterfeit and Ethel Clayton in More Deadly Than the Male.
During 1921, actress Alice Lake, with the film Uncharted Seas (Wesley Ruggles) knudged in between the battle for covergirl transpiring between Viola Dana and May Allison, both for Metro Pictures Corporation. Priscilla Dean stayed on the periphery of the dogfight with her film Reputation for Universal Jewel Deluxe. First National in 1923 published its Great Selection First National First Season brochure of the films it had released during 1922 with a preface explaining that with the aesthetic value of its film was the box office value and it supported the practicality of the exhibitor entering into membership while the studio in fact owned the theater. in their Franchise Plan. "Every First National Picture will have a cast of famous actors. Keep your eyes open and let your patrons know they are with you. It will mean an added box-office attraction." One of the "biggest box-office certainties of the year" was Madge Bellamy in Lorna Doone. It also showcased Norma Talmadge in The Eternal Flame and Costance Talmadge in East is West, it also including Katherine MacDonald in Three Class Productions, Heroes and Husbands, The Woman Conquers and White Shoulders. Hope Hampton was featured in The Light in the Dark. First National annouced, "Louis B. Mayer out to put John Stahl productions on top." Among these were The Dangerous Age, One Clear Call, The Woman He Married and Rose o the Sea (Fred Niblo). "First National Franchise holders can look foward to a series of superb attractions from the studios of Louis B. Mayer, one of the Circuit's earliest producers. J.G. Hawks, "former editor and supervisor of production for Goldwyn" was assigned to Mayer, as was actress Anita Stewart. From the advertising of 1927 for the film White Gold, actress Jetta Goudal seemed a sensation. The direction of William K Howard was reviewed as "distinctive". The Film Daily wrote, "His method of creating atmosphere appropriate to the action, while not relatively new, is most effective. The monotonous creaking of a rocker, the dreary routine of the sickening desert heat, all these and more,creating detail, makes his efforts outstanding." The photoplay was scripted by Garret Fort with scenario writer Marion Orth. Scott Lord Silent Film