Film Booking Offices of America

623:). As a production company, it concentrated on low-budget movies, with an emphasis on Westerns, action films, romantic melodramas, and comedy shorts. From its first productions in early 1920 through late 1928, just before it was dissolved in a merger, the company, as either Robertson-Cole Pictures or FBO Pictures, produced more than 400 features. The studio's top-of-the-line movies—"specials", in industry parlance—aimed at major exhibition venues beyond the reach of most FBO films, were sometimes marketed as FBO "Gold Bond" pictures. Between 1924 and 1926, seven of Evelyn Brent's star vehicles as well as two other high-end films were produced under the label of Gothic Pictures or Gothic Productions. With neither the backing of large corporate interests nor the daily money generator of its own theater chain and far from its London owners, the company faced persistent cash-flow difficulties. The significant financial drain of its reliance on short-term, high-interest loans continued. 765:

arrangement with Fox paid $ 17,500. Thomson's were among those few FBO films budgeted at or above $ 75,000, but they could be relied on to gross in the quarter-million-dollar range. And Kennedy found an angle to make himself even more money. Under the new contract, Kennedy struck a deal in early 1927 with Paramount for the major studio to produce and distribute a series of four Thomson "super westerns". Kennedy participated in the films' financing, recouping his stake plus $ 100,000 in profits each; Paramount covered Thomson's weekly salary; and the actor's production unit stayed on the FBO lot. Given the lag time between production and exhibition, of the four Thomson features that reached theaters in 1927, three were FBO releases. The studio put out fifty-one features in total that year; for the twelve-month period ending November 15, theater owners judged FBO's top three films to all be Gene Stratton-Porter adaptations, with two Thomson oaters following.

460:. At the same time, the business was $ 5 million in debt from the L.A. studio purchase and draining money—banks were reluctant to issue lines of credit to any but the biggest film companies, and R-C was forced to pay interest rates as high as 18 percent to so-called bonus sharks to access working capital. The company's primary investor, the Graham's of London firm, turned to Kennedy to find a buyer, giving him a seat on the R-C board, paying him a monthly adviser's fee, and promising a sizable commission. Though he failed to arrange the sale Graham's was looking for (and his own offer to buy 25 percent of the business was turned down), Kennedy would become deeply involved with the studio in the coming years. 1442: 1018:(1924) were also known to survive. In 1982, film scholar Bruce Firestone wrote that "the disappearance, through loss or destruction, of virtually all of his films turned Thomson into one of the least-known cowboys in the history of American movies." In the most sweeping act of destruction, Kennedy associates scrapped more than one hundred cans of the actor's movies—over a ton's worth of film—during the RKO transition. According to the Library of Congress's American Silent Feature Film Database, to the tiny remaining corpus of Thomson's work for FBO may now be added complete prints of 834: 1330: 975: 290: 1871: 1657: 2712:

subsidiary. Graham's owned all the capital stock in the companies. H.C.S. Thomson (of Graham's) was chairman of the board of R-C Pictures Corp. and Pat Powers was its managing director. The board of directors of Robertson-Cole Studios Inc. comprised Rufus Cole, Joseph Kennedy, Erskine Crum (of Graham's), W. W. Lancaster (of Lloyd's of London), and R. J. Tobin. In May, founder Rufus Cole resigned as both director and president of Robertson-Cole Studios, and Powers became its managing director.

918:(RKO), with Sarnoff as chairman. Kennedy, who retained management of Pathé and its former PDC assets, made over $ 4 million in profit from converting and selling off his FBO and KAO stock in the deal (plus a straight $ 150,000 payout for "facilitating" it). Ranking FBO vice-president Joseph I. Schnitzer replaced Kennedy as president, a position he would retain with RKO Productions when it formally replaced FBO after the turn of the year. 529: 438:. In December, after lengthy negotiations, Kennedy set up his own wholly owned company, Robertson-Cole Distributing Corporation of New England, to handle the business's films in an area where he had a controlling interest in a regional theater chain (though it was locked out of Massachusetts by the leading exhibitors). In February 1921, the movie heralded as Robertson-Cole's first "official" production came out: 992:, with no copies known to exist. Much of FBO's cinematic legacy thus endures only in still images, other publicity materials, and written accounts. All told, just 30 percent of American silent feature films have been preserved (25 percent more or less complete, plus another 5 percent in incomplete versions). The overall survival rate of features produced by R-C/FBO is similar: of 449 movies identified by the 1299:(1926). Under Kennedy's control, the studio focused on marketing its roster of films as suitable for the "average American" and the entire family: "We can't make pictures and label them 'For Children,' or 'For Women' or 'For Stout People' or 'For Thin Ones.' We must make pictures that have appeal to all." Though Kennedy ended the scandal-sheet specials, FBO still found occasion for celebrity casting: 732:." Some stars were less than pleased with Kennedy's penny-pinching; Evelyn Brent, in particular, was troubled by what she saw as FBO's declining production standards and was granted her release. Westerns remained the studio's backbone, along with various action pictures and romantic scenarios; as Kennedy put it, "Melodrama is our meat." Gene Stratton-Porter, then, was the gravy: according to the 1926 712:. The new owner hired Edwin King away from Famous Players–Lasky's New York studio to replace him, but took a personal hand in guiding the company creatively as well as financially. His brand, "Joseph P. Kennedy Presents", would proceed to appear on over a hundred films. Kennedy soon brought stability to FBO, making it one of the most reliably profitable outfits in the minor leagues of the Hollywood 1476:, released in May 1929, as "cowboy burlesque". His brief tenure at the studio was marked by salary grievances—he was now making only $ 10,000 a week—and dismay at FBO's inferior production values, from its worndown sets to the cut-rate film stock it used. Subsequently asked about his experience working with Kennedy, Mix described him as a "tight-assed, money-crazy son-of-a-bitch." 1412:: "With Tom Tyler rapidly taking the place recently vacated by Fred Thomson , F.B.O.'s program of western pictures is taking a place second to none in the industry. Tyler has made rapid strides during his two years with F.B.O. and with his horse 'Flash' and dog, 'Beans,' has become one of the leading favorites on the screen." Tyler's appeal was also enhanced by his human costars— 1043: 469: 922:, the last FBO production chief, likewise retained his position after the merger, but the new studio, dedicated to full sound production, cut ties with FBO's roster of silent screen performers. In its final year of operation, of FBO's top five box office films according to theater owners, three were again Gene Stratton-Porter adaptations, including 821:'s outlet and one-time fiefdom, which was now in effect a Pathé subsidiary. In March, nominally acting as an unpaid "special advisor" to Pathé (he would eventually receive 100,000 shares of stock and thousands of dollars in retroactive salary), Kennedy took effective charge of PDC operations, beginning the process of edging DeMille out. Pursuing a 1282:. Here Davenport (again billed as Mrs. Wallace Reid) plays the overindulgent mother of an unruly boy destined, as a reckless teen, to commit a terrible misdeed. According to a trade journal—perhaps echoing publicity copy—the tale was "a reminder that the foundation of all law and order lies in that greatest of American institutions—the home." 1148:(1925). He appeared in eighteen FBO releases, more than half of them produced by his own company. Talmadge's last film for the studio was released in June 1926. By August, Brent was on her way to starring roles at Paramount. In October, Talmadge was judged to have been FBO's biggest non-Western draw of the year; in the first annual 359:. Late in 1919, independent motion picture producer Frank Hall acquired Exhibitors Mutual and integrated it into his new Hallmark Exchanges. In January 1920, Robertson-Cole purchased Hallmark, securing the capacity to directly distribute the films to which it owned rights, including the in-house productions then being planned. 904:

added in curious out-of-the-way scenes." A trade paper report described the studio's plans to add "synchronized music, sound effects and dialogue" to five other silently shot films. To date, FBO's experiments with sound had all been funded by RCA; on August 22, as Kennedy was crossing the Atlantic for a European vacation,

1934:(1926). In May 1928, with the Keith-Albee-Orpheum theater chain under his control, Joseph Kennedy announced a forthcoming slate with not only more than the usual number of (relatively) high-budget films but a "Mammoth Program of Short Features". No less than four different series came from independent producer 997:

six Gene Stratton-Porter films put out by the studio has been found. Due to its zeal for cost cutting, FBO was reputed to be especially meticulous in the execution of a practice then common among distributors: rounding up its release prints at the end of a picture's run and melting them down to recover the

2522:

Jewell (1982) describes the lot as 13.5 acres (p. 8); Beauchamp (2009) describes it as seventeen acres (pp. 35, 76). Shiel (2012) states that the studio was originally built on thirteen acres (p. 149); elsewhere, he states that, "by the 1920s", Robertson-Cole owned twenty acres in Hollywood (p. 113).

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in the most cosmopolitan of markets. Along with trusty Silver King, Thomson brought in millions to FBO, and Kennedy personally made almost half a million dollars from the "super western" loanout to Paramount. But when Kennedy learned early in 1928 that Mix, whose decade-old Fox contract was expiring,

996:

as R-C/FBO productions, 125 are known to survive in some form—28 percent, though with only two (0.4 percent) in a legacy studio archive. The losses, moreover, were not equally distributed, and one of FBO's most successful franchises has disappeared entirely: not even a fragmentary print of any of the

903:

review concluded, "What it is all about can be called only an open question. A guess at the solution, however, would be that FBO had a mystery story, and in an effort to keep up with the times had synchronized it.... The synchronization is faulty in many, many places, and several vocal selections are

2711:

Lasky (1989) p. 13; Jewell (1982), p. 8. In February 1922, while plans for the reorganization were underway, the business was structured thus: R-C Pictures Corporation as parent company, Robertson-Cole Studios Inc. as production subsidiary, and Robertson-Cole Distributing Corporation as distribution

362:

In March, the inaugural "convention of the branch managers and field supervisors of the Robertson-Cole Distributing Corporation" was announced. The company currently boasted a slate of twenty-five movies in theaters around the country, with its top films co-branded "Superior Pictures". The first R-C

3851:

Beauchamp (2009), p. 203; Lasky (1989), pp. 29, 33; Crafton (1997), p. 141. Lasky's claim that Kennedy at that point also tendered RCA an option to acquire control of FBO appears to be erroneous (the claim is echoed by Crafton, citing only Lasky); neither Kennnedy biographers Goodwin, Beauchamp, or

660:

had poured no less than $ 7 million into the company—but in February 1926, FBO's owners decided to take the money. From the studio's New York City headquarters, Kennedy swiftly addressed its perennial cash-flow problems, setting up a new business, the Cinema Credits Corporation, to provide FBO with

1457:

As 1928 began, Tyler was the most popular actor actually working at FBO, but Kennedy wanted the big gun. He bided his time as Tom Mix toured the Orpheum vaudeville theaters with a live show—boosting Kennedy's new exhibition interests—and legal machinations ensured Thomson's exile. Finally, Mix was

910:

announced that he had finally signed a formal licensing agreement to pay for his studio's use of Photophone recording. While Kennedy traveled, RCA launched a bid to acquire control of and combine the Keith-Albee-Orpheum chain with FBO, as talks began between Sarnoff and Walker. After his return in

476:

In 1922, Robertson-Cole underwent a major reorganization as the company's founders departed. The flagship U.S. distribution business changed its name to Film Booking Offices of America, a banner under which R-C had released more than a dozen independent productions. The West Coast studio operation

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studios circling Fred Thomson, Kennedy kept him at FBO for $ 15,000 a week (assigning the contract to a newly created corporation, Fred Thomson Productions, "for tax purposes"). The actor now had the second-highest straight salary in the entire industry, surpassed only by Tom Mix again, whose new

639:

While still at the Hayden, Stone investment firm, Kennedy had boasted to a colleague, "Look at that bunch of pants pressers in Hollywood making themselves millionaires. I could take the whole business away from them." In 1925, he set out to do so, forming his own group of investors led by wealthy

3696:

Finally, a spread in the August 11 issue blares, "FBO Sound Sensation Scores Solid Broadway Smash", asserts that the film has been "A Hit in Silent Form" in Los Angeles and Detroit, and reassures that "FBO has not forgotten the thousands of showmen who have not yet obtained sound installations".

3814:

The language in the report referring to a Detroit release is ambiguous: "'The Perfect Crime' has already been given a two weeks' test engagement at the United Artists theatre, Detroit." Given the phrasing in the FBO ad in the same issue cited above, this refers either to the silent run that had

2812:

The reference in Beauchamp (1998) to Kennedy's February 1926 takeover of "R-C Pictures Corporation and Film Booking Office of America" (p. 180) suggests that the parent company retained its Robertson-Cole identity at that point. The 1927 logo reproduced at the top of this article, reading "FBO

1543: 692:

explains the connotation: "not Jewish", in contrast to most of the studio heads). Ramsaye went on to celebrate Kennedy's "background of lofty and conservative financial connections, an atmosphere of much home and family life and all those fireside virtues of which the public never hears in the

309:

motion picture equipment; its initial film distribution focus was on the Northern European, South Asian, and Latin American markets. From its U.S. office, R-C Pictures, as it was often branded, started American motion picture distribution late in 1918, purchasing film rights from independent

304:

The company that would become FBO began as Robertson-Cole, an importer, exporter, and motion picture distributor with headquarters in London and New York, founded in 1918 by Englishman Harry F. Robertson and American Rufus S. Cole. The company handled American-made trucks, cars, automobile

825:

strategy he had discussed separately with both Sarnoff and Walker, Kennedy and his circle of investors, including Blair & Co., soon acquired working control of KAO and its film production/distribution assets. The establishment of a major studio devoted to all-sound production with the

2729:

Many sources give FBO's full name incorrectly as "Film Booking Office of America"; the proper name is Film Booking Offices of America, as per the company's official logo. For the correct spelling, see Sherwood (1923), pp. 150, 156, 158, 159, etc.; Ellis and Thornborough (1923), p.

697: 5730:

Beauchamp (2009), p. 82. The suggestion by Goodwin (1987) that, during Kennedy's tenure, FBO made "a dozen dog pictures...each year" (p. 348) is exaggerated. Ranger, the studio's only canine headliner of the Kennedy era, starred in sixteen pictures over the course of three

3852:

Nasaw nor preeminent RKO historian Jewell offer any support for it. Lasky and thus Crafton also mistakenly state that Kennedy left on vacation after the August 22 announcement; in fact, his ship sailed on Friday, August 17. Nasaw (2012), p. 126; Beauchamp (2009), pp. 206–7.

1458:

signed to a six-film deal and began shooting in July. He ultimately made five pictures for the studio (two released after it had ceased to exist), and stayed near the top of the exhibitors' poll, his 112 votes good enough for second among the men, if well behind the 171 of

397:, which had a premiere on May 29 and went into general release in July. With its move into production, Robertson-Cole needed its own filmmaking studio: in June, it acquired a lot around fifteen acres (six hectares) in size in Los Angeles's fortuitously named 1266:, released by FBO in June 1923, five months after Reid's death, in which Davenport (billed as Mrs. Wallace Reid) plays the wife of a noble attorney turned dope fiend. A few months later, the studio featured a celebrity of a very different sort: magician 477:

continued to make films under the Robertson-Cole name for some time, but FBO ultimately became the primary identity of the business for production as well as distribution. Between May 1922 and October 1923, one of the company's new American investors,

563:

to become FBO's top dramatic star. Fred Thomson's fame was surging, and in April 1925, FBO vice-president Joseph I. Schnitzer signed him to a studio contract paying $ 6,000 a week—roughly $ 104,243 in 2023 dollars. Behind only the enormously popular

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system—see Block and Wilson (2010), p. 56; Crafton (1997), pp. 148–49—the film's limited run before its Rivoli debut was in the silent version in which it was shot. In the fifty-two pages of color ads Kennedy bought at the front of the May 19

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the following year, Hays had been seeking "to endow the febrile motion picture industry with an atmosphere of Americanism and substantiality. Kennedy is a valuable personality from this point of view. He is exceedingly American" (historian

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reliable financing at favorable terms. He was elected FBO chairman in March and was soon traveling to Hollywood, where one of his first steps was to cut loose the various independent producers resident at the studio. The president of the

756:, $ 275,000. In a broad economization move, in 1927, FBO ended the long-term contracts with writers that were an industry norm, shifting story assignments to a freelance basis. One major expense Kennedy didn't spare: with the powerful 3052:

Beauchamp (2009), p. 80. Beauchamp directly cites the contract for the details here (note, p. 423), silently correcting her earlier claim (Beauchamp , p. 168) that Thomson's new deal paid him $ 10,000 a week, implausibly exceeding

1563:

Kennedy had no illusions about his studio's place in the realm of cinematic art. A journalist once complimented him on FBO's recent output: "You have had some good pictures this year." Kennedy jocularly inquired, "What the hell

314:

studio. In November, R-C contracted to serve as the sole provider to Exhibitors Mutual, and its first acquisitions were released the following month. For its top-of-the-line "product", it purchased the movies of star actor

1170:

demonstrated his range by playing a "fast riding motorcycle copper" in a May release, a "battling policeman" in September, and Breckenrdige Gamble, a bored millionaire turned international secret agent, in October.

1727:. Pulling double duty on occasion, Ralph Ince starred in five of the sixteen films he made for the studio between 1925 and 1928. One production in which he served in both capacities was particularly well received: 1578:, as a rare "unforgettable picture of the higher caliber" put out by FBO. Reviews at the time called it "absorbing" and "vastly entertaining". Among the studio's action movies, one standout production was a 1927 948:". Movies that Film Booking Offices had either produced or arranged to distribute were released under the FBO banner through the end of the year. The last official FBO production to reach American theaters was 168:. A business reorganization in 1922 led to its assumption of the FBO name, first for all its distribution operations and ultimately for its own productions as well. Through Kennedy, the studio contracted with 1495:. One of the studio's most reliable Western headliners was a dog: Ranger (all alone at sixty-fifth among male performers). Beans had featured roles in a number of Tom Tyler/Frankie Darro Westerns. The fabled 751:

During this period, the average production cost of FBO features was around $ 50,000, and few were budgeted at anything more than $ 75,000. By comparison, in 1927–28 the average cost at Fox was $ 190,000; at

2559:—the old FBO facility occupies the western quarter of the Paramount Studios area. For images of the studio's administration building during its FBO days, see Crafton (1997), p. 136; Beauchamp (2009), p. 77. 813:(KAO), a vaudeville exhibition chain owning approximately one hundred theaters across the United States and affiliated with many more; KAO and Blair & Co. together controlled yet another small studio, 4637:

Though Talmadge made few actual Westerns, in categorizing male stars as "drama and comedy drama", "Western", or "comedian", the trade journal placed him with the cowboys. Brent's first Paramount feature,

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away from FBO the following season for a Paramount contract, they struck a deal with the studio for another series, one that, like Bowers's shorts, involved both animation and a live performer: the

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Beauchamp (2009), pp. 233–36. Kennedy even profited from Thomson's death, as Fred Thomson Productions had taken out a $ 150,000 life insurance policy on the performer. Beauchamp (2009), pp. 234–35.

555:

H.C.S. Thomson of Graham's, already chairman of the board, became the business's managing director with the departure of Powers. B. P. Fineman was hired as the studio's production chief in 1924;

748:, was the number one picture in the entire country that year. The remainder of FBO's top five comprised, once again, three Fred Thomson pictures, along with another Stratton-Porter adaptation. 1008:

As for FBO's biggest star, among America's biggest at the time, of the twenty films Fred Thomson made for the studio, for years just a single one was known to remain intact in a US archive:

1605:

Two of the studio's most impressive releases were foreign productions. In 1927, FBO picked up for U.S. distribution an acclaimed Austrian biblical spectacular made three years earlier:

1069:

in March 1922. Hayakawa was regarded as one of the finest screen performers of his time, but as anti-Japanese sentiment grew on the West Coast, R-C terminated its relationship with the

656:. In August 1925, Kennedy traveled to England with an offer to buy a controlling stake in Film Booking Offices for $ 1 million. The bid was initially rejected—Graham's and co-financier 1794:

set up her own production company to film screen adaptations of her work, a perhaps unprecedented venture for a writer. FBO handled four releases from Gene Stratton-Porter Productions—

236:, based on a Stratton-Porter novel, as the year's most popular film. In early 1928, Kennedy froze Fred Thomson out of the movie business as FBO signed the premier silent Western star, 3267:

Nasaw (2012), pp. 100–2; Beauchamp (1998), pp. 180, 197. For Hays and Kennedy's earlier association, see Goodwin (1987), p. 341; Nasaw (2012), pp. 75–76; Beauchamp (2009), pp. 48–49.

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published its first annual list of the biggest box office films of the year (ending November 15) based on a national survey of theater owners. FBO's top five attractions were led by

1855:, son of a major FBO stockholder, cut his first film for the studio at the age of twenty-one; in the 1930s, he would earn renown as an RKO producer and production chief. Famed RKO 40: 5402:

Beauchamp (2009), pp. 165–67, 208. Nasaw (2012)—incredibly citing Beauchamp—writes, "Kennedy did everything he could to keep Thomson's career alive" (p. 107), a gross falsehood.

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identified it as a "B.B. Picture". Stating that "no other information has been located connecting this to Bessie Barriscale's own company", AFI lists it as an R-C production.

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directed eight R-C/FBO releases, some produced directly for the studio, others independently; in 1924 he made two additional FBO releases for Palmer Photoplay, both featuring

1483:; a top star for Universal in the second half of the 1910s, he was still a bankable name when he made several FBO Westerns in 1922–23. The other cowboy stars of FBO included 4350:

Davies (1971), p. 666. Frederick made seven known films for the company between 1920 and 1922 and one more in 1926. There is a question about the status of a ninth project:

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Nasaw (2012), pp. 94–95; Lasky (1989), pp. 14–15; Goodwin (1987), p. 344; Beauchamp (2009), pp. 73–74. Lasky misspells Kennedy's new firm as the Cinema "Credit" Corporation.

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Another two-page ad, in the July 7 issue, claiming the film has "Amazed...and Astounded the Critics" and is the "First Real Hit of 28-29", again makes no mention of sound.

774: 230:

In 1926, Kennedy led an investment group that acquired the company, and he ran it hands-on—traveling frequently to California—with considerable success. Exhibitors cited

2556: 1128:(1925), she played an ambitious politician's faithless wife and her look-alike, a high-end cat burglar. Talmadge, a stunt designer and double for major stars including 7583: 6061: 572:, beloved by audiences, was covered by a $ 100,000 insurance policy. The deal also gave Thomson his own dedicated production unit at the studio. In December 1925, the 619:

As a distributor, Film Booking Offices focused on marketing its films to small-town exhibitors and independent theater chains (that is, those not owned by one of the

988:

A large majority of FBO/Robertson-Cole pictures, produced during the silent era and the transitional period of the conversion to sound cinema, are considered to be

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studio in 1912. During his time in charge at FBO, his brand was added to many of its films: "P. A. Powers Presents". Among its outside suppliers of the period were

413:

and eight stages, each occupying nearly a third of an acre. The first film to shoot at the facility, while it was still being built, was the independent production

273: 2194:

Miyao (2007), p. 169; Codori (2020), pp. 115, 117. In a popular star poll taken at the time that encompassed over a hundred actors, Hayakawa placed forty-fourth.

409:, to be known as the "R-C Ranch". In September, contracts were signed for the construction on the Colegrove property of an administration building with a massive 7563: 2813:

Pictures Corp.", and a brief trade report from June of that year indicate that the corporate name of the parent company was changed after the Kennedy purchase.

1466:(no other FBO regular made it into even double digits). But the spread of the talkies was swiftly making the silent sagebrush superstar less of a sure thing. 497:. While Kennedy left the board in July 1923 (and sold back his New England franchise for a sizable profit), he leveraged his friendship with top screenwriter 7469:

comprehensive listing of silent features produced by FBO/Robertson-Cole and released between 1925 and 1929 (showing how many were considered lost as of 2003)

3295:

Beauchamp (1998), p. 180; Nasaw (2012), p. 103. Beauchamp misleadingly suggests that Ramsaye's words were Hays's (which she does again in Beauchamp , p. 68.)

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were FBO's most prominent non-Western headliners. Brent made a specialty of melodramatic pictures with a crime angle, often billed as "crook melodramas"—in

7578: 7543: 7513: 2997:

How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda

6043: 7528: 6088: 2391: 4354:(supposedly 1922). There is no doubt a screenplay was written and shooting was planned. But the last AFI print catalog states, in its terse entry for 4229: 525:, a measure of film length indicating a running time of fifteen to twenty-five minutes. (Many feature films of the era were no more than five reels.) 7538: 7533: 5934: 4060: 3109: 978:

In an age when popular films might run for years in different locations around the country and many hundreds were released every exhibition season,

7508: 7503: 7475:

lists FBO sound productions released in 1928 (but does not clearly indicate the several holdover FBO sound productions distributed by RKO in 1929)

4249:

is not in the database at all, for reasons unknown. All four of Thomson's Paramount "super westerns" are considered lost. Beaumont (2009), p. 443.

3197: 1995:(1924), according to historian Simon Louvish, contains "one of 's finest gags," involving a level of cinematic technique that bears comparison to 1108: 7558: 7523: 7518: 1641:(1928), the most successful film in the history of Argentine silent cinema, was shot in Hollywood and distributed in the United States by FBO as 1091:, immediately cashed in with a top-tier contract from Robertson-Cole, for whom she starred in more than half a dozen melodramas, beginning with 3179: 2099:

Codori (2020), pp. 113–17; Nasaw (2012), pp. 68–69; Miyao (2007), p. 169. Beauchamp (2009, p. 35), among others, misidentifies Cole as British.

402: 5050: 1537: 911:

late September, Kennedy ultimately agreed to the plan, which would involve his divestiture from both the theater circuit and his own studio.

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In its pre-Kennedy years, the studio did not hesitate to take advantage of scandal sheet–worthy events. After the death of celebrated actor

1528:...runs off with most of the histrionic honors. The dog stages one of the most realistic and blood curdling fights we have seen recently." 1237:

appeared in six FBO pictures between 1925 and 1927; in two of his earliest major roles, he performed opposite Brent in the action-oriented

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George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success

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in the 1930s, created the stories for seven of the FBO pictures starring her husband, Fred Thomson—for these brawny cowboy tales, such as

1653:, who established his career at Film Booking Offices. With RKO, Musuraca would become one of Hollywood's most respected cinematographers. 4362:, 1923), it can be concluded that this film was also known by another title." The current online AFI catalog has no entry for it at all. 3815:

already happened or a talkie run that was going to happen when the theater was at last set up for sound, as was scheduled for August 15.

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was first released on June 17. At a time when few theaters in the country were wired for sound, many of those with only the incompatible

4644:, had not reached most theaters when the poll was conducted, and she made it only onto the unranked long list of "240 Box Office Names". 1097:

just two months later. She was said to have been paid an extravagant $ 7,000 or $ 7,500 a week under her R-C deal. Early in her career,

481:, was effectively in command. Powers had previously led his own filmmaking company, part of the multiple mergers that created the large 6685:

A Van Beuren Production: A History of the 619 Cartoons, 875 Live Action Shorts, Four Feature Films, and One Serial of Amedee Van Beuren

914:

On October 23, 1928, RCA announced it was merging Film Booking Offices and Keith-Albee-Orpheum to form the new motion picture business

5754:(1926) incorrectly identifies it as a Paramount picture and suggests it was the first film teaming Tyler and Darro (it was the ninth). 1057:, the first star of any magnitude associated with the Robertson-Cole brand, made a total of twenty films released by the studio, from 7573: 2842: 2526: 801:, RCA general manager and driving force, took a seat on the FBO board. At the same time, Kennedy had aligned with investment banker 160:, an Anglo-American import-export company. Robertson-Cole began distributing films in the United States that December and opened a 3017:

How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States

2245: 2012:

FBO also distributed the output of significant creators of purely animated films. Between 1924 and 1926, FBO released the work of

7553: 7548: 7066:, vol. 1, by John T. Soister and Henry Nicolella, with Steve Joyce and Harry H Long. Jefferson, NC: McFarland, pp. 16–21. 3512:

Beauchamp (2009), pp. 89–90; Beauchamp (1998), pp. 210, 211; Jensen (2005), pp. 97, 116–17, 122, 128; Koszarski (1990), p. 116.

2166: 926:, first released in October 1925 and making its fourth appearance in the annual balloting; the others were the Austrian import 6351:

Crafton (1993), pp. 186–87; Langer (1995), pp. 105, 259 n. 40. For posters of two Bray/Lantz cartoons distributed by FBO, see

7446: 7432: 7418: 7404: 7390: 7376: 7362: 7348: 7295: 7253: 7239: 7225: 7155: 7141: 7113: 7071: 7053: 6969: 6955: 6913: 6899: 6885: 6804: 6790: 6776: 6762: 6692: 6599: 6557: 6543: 6529: 6487: 6459: 6445: 6431: 662: 183:

The studio, whose core market was America's small towns, also put out many romantic melodramas, action pictures, and comedic

893:

had been shot silently in anticipation of a silent release. Using RCA Photophone, dialogue and "mystery sound effects" were

3584:

Lasky (1989), pp. 25–26; Jewell (2012), pp. 13–15; Nasaw (2012), pp. 115–17, 119–20; Beauchamp (2009), pp. 141–45, 147–52;

1796: 1402:, who finished twenty-third among men in the 1927 exhibitors' poll. Born Vincent Markowski, he had been a weightlifter and 841:'s self-promotion. This image dominated the opening spread of FBO's massive coming attractions insert in the May 19, 1928, 580: 177: 673:—was delighted by the new face on the scene; in his eyes, Kennedy signified both a desirable image for the film trade and 4640: 1703: 1602:

reviewer wrote that the movie "has a rather new order of thrills and atmosphere that might prove distinctly attractive."

7281: 7267: 7183: 7099: 6941: 6818: 6613: 6515: 5093:

Schaefer (1999), p. 224; Slide (2022), pp. 85–88; Taves (2012), chap. Initial Distribution beyond First National, 1923.

2246:"Short Robertson-Cole Offerings: Supreme Comedies, Martin Johnson's Cannibal Films and Adventure Scenics Offer Variety" 1802: 980: 814: 738: 232: 797:

had purchased a major interest in FBO—the $ 24 price per share was quadruple what it had been just two years earlier.

620: 594:, an issue-driven melodrama detailing the dire consequences of not spanking naughty children, and three Fred Thomson " 331:, National Film Corporation, Winsome Stars. To accompany its features, Robertson-Cole also acquired a wide variety of 7327: 7313: 7211: 7197: 7169: 7127: 7085: 7039: 7025: 7011: 6997: 6983: 6927: 6871: 6858: 6845: 6832: 6748: 6734: 6720: 6706: 6669: 6655: 6641: 6627: 6585: 6571: 6501: 6473: 6424:

Dangerous Curves atop Hollywood Heels: The Lives, Careers, and Misfortunes of 14 Hard-Luck Girls of the Silent Screen

2494:

A detailed survey of her career from the Women Film Pioneers Project lists it under B.B. Features/B. B. Productions.

1588: 1551: 794: 5158: 2693:

Beauchamp (2009), pp. 38–44; Goodwin (1987), pp. 340, 342; Nasaw (2012), pp. 69–70, 73–74; Beauchamp (1998), p. 157.

517:, grew so popular it was often billed above the accompanying feature. O'Hara would become an FBO mainstay, as would 3771: 1912: 1739: 993: 440: 6124: 4086: 1619:) had already won its director, Michael Kertész, a job with Warner Bros. In Hollywood, he would make such hits as 1387:, to freeze Thomson out of motion pictures entirely. That December, Thomson died—the immediate cause of death was 4358:, "Because it is unusual to find no information on an FBO or Pauline Frederick film (all facts here are from the 7466: 1922: 423:. With the West Coast operation up and running, Hayakawa's production company was absorbed into Robertson-Cole. 7472: 4547: 1962: 164:

production facility in 1920. Late that year, R-C entered into a working relationship with East Coast financier

7204:

The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1921–1930

1568:

they?" From the pre-Kennedy era, RKO historian Betty Lasky identifies the Dorothy Davenport "problem" picture

7588: 7006:, ed. Gregg Bachman and Thomas J. Slater. Carbondale: Southern Illinois Univ. Press (2002), pp. 94–114. 1891: 1272: 851: 4653:

The AFI Flynn filmography, which is organized by year of release but not month, shows thirteen such films:

3278: 3024: 3004: 2739:

Trade paper reports on production plans in 1925 contain no mention of Robertson-Cole as business or brand.

1940: 1814: 1621: 1416:(tied for fifty-fourth in the poll) as his young sidekick on over two dozen occasions and starlets such as 1167: 984:, according to theater owners, ranked 64th nationally in 1925, 1st in 1926, 34th in 1927, and 71st in 1928. 786: 612: 320: 253: 180:

most popular stars. Thomson was just one of several silent screen cowboys with whom FBO became identified.

17: 6440:, by Richard Armstrong, Tom Charity, Lloyd Hughes, and Jessica Winter. London: Rough Guides, p. 210. 4475: 3586: 5651: 4742: 4724: 4033: 4010: 3972:

In 1924, for example, 586 American features (five reels or longer) were released. Solomon (2011), p. 71.

3912: 3550: 2741: 2459: 2333: 2306: 2280: 1719:(1922)—during its Robertson-Cole days. The best-known director to work regularly under the FBO brand was 1586:

declared, "If you want to see the personification of Tarzan of the Apes as I visualize him, see the film

1555:(1927), which brought the famous character back to the big screen for the first time in over five years. 868: 310:

production companies and selling them on to Exhibitors Mutual Distributing, a corporate successor of the

6280: 6191: 5619: 5592: 5441: 5368: 5104: 4620: 3992: 3797: 3745: 3699: 3660: 3612: 3443: 3368: 5480: 4553: 4456: 4312:

Miyao (2007), pp. 3–5, 225–27, 312; Maurice (2013), chap. Face, Race, and Screen; Gates (2019), p. 28;

3974: 3679: 3487: 3405: 3240:

Goodwin (1987), pp. 342–43; Beauchamp (1998), p. 180; Lasky (1989), p. 13; Beauchamp (2009), pp. 66–68.

3063: 2906: 2815: 2795: 2569: 2429: 1430: 1371: 5520: 5422: 5350: 4760: 3424: 5470:, the first film with Tyler as lead, opened in August 1925, half a year before Kennedy took over FBO. 5466:

Beauchamp (2009), p. 82. Beauchamp misleadingly implies that Kennedy oversaw the transformation, but

4195: 1844: 1820: 1637: 410: 1159:

starred in over a dozen action-filled "comedy dramas" released by FBO, all produced and directed by

876: 269: 7568: 6006: 5988: 5564: 2412:

as "the first picture produced by Robertson-Cole" (Jewell , p. 8, uses almost identical language),

1894:—were hits, so in the second half of 1924 the studio made a bid at teaming them in the twelve-part 1883: 1408: 1336:, the most prolific of FBO's many Western stars, headlined twenty-nine movies for the studio, from 1196: 789:(RCA) on a deal for sound conversion led to the January 1928 announcement that RCA, parent company 514: 478: 453: 6394: 6367: 6032:

Kear (2009), pp. 30, 43, 142–44. For further description of the latter, see Langman (1998), p. 88.

5590:

Jensen (2005), pp. 119; Beauchamp (2009), pp. 165–67. For Mix's vaudeville circuit tour, see also

5546: 4114: 3575:

Jewell (2012), p. 12; Lasky (1989), pp. 24–25; Nasaw (2012), pp. 111–12; Beauchamp (2009), p. 141.

1832:. All six were hits. All are considered lost. In-house, Frances Marion, who would win two writing 1787:

has pointed to Seiter and Johnson as two of the overlooked directorial talents of the silent era.

6327: 6041:

Lupack (2020), pp. 248–50; Taves (2012), chap. Initial Distribution beyond First National, 1923;

5131: 4437: 2959: 2714: 2668: 1472: 1406:

before his transformation into a cowboy headliner. According to a hyperbolic June 1927 report in

1398:

Among Western stars under long-term contract, FBO's next most important—though by a distance—was

1217: 940: 721: 717: 709: 606: 6254: 4698: 4521: 4493: 3152: 3134: 2777: 2759: 4661: 3015: 2995: 2449: 1966:-inspired "Movie Side Show" of "freaks and queer odds and ends from all corners of the world". 1729: 1505: 1338: 1164: 998: 934: 435: 398: 356: 156:, a midsize producer and distributor of mostly low-budget films. The business began in 1918 as 53: 5195: 1848:(1926), she used the pseudonym Frank M. Clifton (the "patronymic" was Thomson's middle name). 1449:

promote the signing of Mix's multipicture contract with FBO. The actor's plans to film in the

1293:, she was swiftly enlisted by the studio to costar with Clive Brook in the sensitively titled 6664:, ed. Edward T. James. Cambridge, MA, and London: Belknap Press of Harvard University Press. 4667: 3897:

Lasky (1989), p. 43. For LeBaron's hiring the previous year, see Beauchamp (2009), pp. 98–99.

2650: 2222: 2027: 1751: 1441: 1212: 1185: 1156: 1002: 445: 385: 6225:

Jackson, Markoe, and Markoe (1998), p. 28; Lasky (1989), pp. 105–18, 133–36, 152–57, 174–75.

5932:

Ince starred in the five movies atop the following list of his directorial efforts for FBO:

3817:

Hubbard, Preston J. (Winter 1985). "Synchronized Sound and Movie-House Musicians, 1926–29".

1607: 1260:, signed on as producer and star of a cinematic examination of the sins of substance abuse: 674: 3718: 1949: 1791: 1583: 1295: 1226: 1087: 1065: 1031: 1020: 894: 822: 785:

would drastically alter the studio's course: Negotiations that began in late 1927 with the

657: 600: 585: 505:, to help arrange a distribution deal between FBO and Thomson for half a dozen independent 224: 6811:

Criminalization/Assimilation: Chinese/Americans and Chinatowns in Classical Hollywood Film

5951:

For the three films starring Evelyn Brent he directed, see Kear (2009), pp. 31–34, 144–46.

5781:

Fenton (2002), pp. 106–7; Armstrong and Armstrong (2001), pp. 196–97; Mayer (2017), p. 37.

4824: 2477: 2137: 2005:

In 1926–27, the company released more than a dozen shorts by innovative comedian/animator

1902:. It was so successful that they were reunited the next year for a similar twelve-parter, 1378:

showcase, it demonstrated that a Western, even one without Mix, could draw audiences to a

708:

Studio chief Fineman departed around the time of Kennedy's purchase to work at the larger

8: 7478: 5913: 5323: 4559: 4287: 3386: 2041: 1761: 1745: 1518: 1480: 1459: 1344: 1172: 1103: 1014: 950: 810: 753: 653: 261: 6934:

Eighty Silent Film Stars: Biographies and Filmographies of the Obscure to the Well Known

4383: 4132: 2119: 7490:

nine-and-a-half minutes' worth of Fred Thomson and Silver King's fifteenth film for FBO

6757:, ed. John C. Tibbetts and James M. Welsh. Lanham, MD: Firestone Press, p. 73–77. 5251: 4896: 4788: 4223: 4207: 4189: 3834: 2552: 2497: 2013: 1838: 1808: 1784: 1488: 1301: 1191: 963: 906: 833: 761: 725: 649: 569: 415: 394: 289: 6243:

Foote (2014), pp. 100–1; Ankerich (2010), chap. Alberta Vaughn; Rainey (1999), p. 177.

5287: 4175:

According to the ASFFD, versions of the following are held outside the United States:

2392:"Carpentier Film Shown; French Champion Appears Under the Auspices of the Legion Here" 1981:(twenty-six per year as of their last contract); twelve of those from 1924–25 starred 1383:

might become available, he used his control of Fred Thomson Productions, the supposed

522: 7442: 7428: 7414: 7400: 7386: 7372: 7358: 7344: 7323: 7309: 7291: 7277: 7263: 7249: 7235: 7221: 7207: 7193: 7179: 7165: 7151: 7137: 7123: 7120:

The Silent Partner: The History of the American Film Manufacturing Company, 1910–1921

7109: 7095: 7081: 7067: 7049: 7035: 7021: 7007: 6993: 6979: 6965: 6951: 6937: 6923: 6909: 6895: 6881: 6867: 6854: 6841: 6828: 6814: 6800: 6786: 6772: 6758: 6744: 6730: 6716: 6702: 6688: 6665: 6651: 6637: 6623: 6609: 6595: 6581: 6567: 6553: 6539: 6525: 6511: 6497: 6483: 6469: 6455: 6441: 6427: 5919: 5305: 4878: 4177: 3947: 3879:

Beauchamp (2009), pp. 218–20, 230–31; Jewell (2012), p. 18; Nasaw (2012), pp. 130–31.

2639:

Beauchamp (2009), pp. 33–37; Goodwin (1987), pp. 340–41; Nasaw (2012), pp. 68–71, 73.

2454: 1767: 1650: 1627: 1575: 1517:

who would become one of the greatest canine stars of all time was singled out by the

1329: 1286: 1257: 1129: 1093: 1078: 574: 482: 449: 427: 376: 324: 294: 276:. FBO's assets were folded into the new company, and it was dissolved in early 1929. 188: 165: 4806: 3629:

For Kennedy's self-promotion while at FBO, see Beauchamp (2009), pp. 158–59, 194–97.

2009:, whose work imaginatively mixed live action and three-dimensional model animation. 974: 806: 5894: 5750: 5439:

He placed thirty-fourth in the previous year's poll, which was not divided by sex.

5269: 4996: 4959: 4914: 4679: 4673: 4585: 4426:

Jewell (1982), p. 8; Kear (2009), pp. 31–38, 142, 144–45, 147; Lasky (1989), p. 16.

4377:

Munden (1997), p. 917. For a helpful Frederick filmography, which does not include

4331: 3826: 3011: 2991: 2555:) was and remains 780 Gower Street. Goodwin (1987), p. 346. For a modern view, see 2420:

as an April release, it was both reviewed and listed as a "current picture" in the

2373: 2355: 2209: 2045: 1856: 1852: 1829: 1715: 1698: 1678: 1665: 1660: 1379: 1321:

were signed for a series of "Racquet Girls" pictures that never made it to screen.

1225:

to a six-picture deal in hopes of filling the void. In FBO's waning months, former

1119: 1082: 1070: 818: 790: 729: 645: 560: 494: 457: 420: 372: 328: 306: 200: 6142: 4860: 4269: 2058:, of which FBO would release over two dozen, were created by two young animators, 4842: 4201: 4183: 2031: 1991: 1859: 1514: 1366: 1314: 1290: 1239: 1208: 1176: 1144: 1138: 1059: 1054: 1026: 919: 885: 742:, for which shooting was completed while the novel was still being serialized in 595: 506: 486: 431: 316: 298: 192: 169: 6391:

Barrier (2008), pp. 51–53; Crafton (1993), p. 285; Langer (1995), p. 259 n. 39;

5014: 1152:

theater owners' poll of top box office names, he placed thirtieth out of sixty.

5876: 4655: 4213: 2054: 2006: 1887: 1772: 1743:, Henry King directed two more R-C films with Pauline Frederick, also in 1921: 1724: 1694: 1670: 1646: 1632: 1392: 1356:. In both 1926 and 1927, he ranked number two among all male performers in the 1262: 1245: 1180: 1124: 928: 899: 838: 827: 757: 689: 540: 518: 498: 490: 390: 241: 216: 211:

headlined five FBO short series. The studio's most prolific directors included

208: 7484: 7308:, ed. Arnie Bernstein. Chicago: Lake Claremont Press (2000), pp. 270–71. 4977: 3658:

has pride of place behind only Kennedy himself. There is no mention of sound.

1870: 1352:

Central to the FBO identity were Westerns and the studio's major cowboy star,

7497: 6160: 3646: 1996: 1953: 1945: 1935: 1833: 1780: 1776: 1674: 1413: 1267: 1234: 1200: 802: 798: 713: 678: 544: 501:

and her husband, accomplished athlete, ordained minister, and neophyte actor

380: 348: 336: 257: 220: 184: 7092:

Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema

7064:

American Silent Horror, Science Fiction and Fantasy Feature Films, 1913–1929

6990:

An Evening's Entertainment: The Age of the Silent Feature Picture, 1915–1928

6494:

Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood

5694:

Brichard (1993), pp. 216–18; Jensen (2005), pp. 121–24; Lasky (1989), p. 17.

2605: 7320:"Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959 7218:

The Patriarch: The Remarkable Life and Turbulent Times of Joseph P. Kennedy

6713:

Edgar Rice Burroughs and Tarzan: A Biography of the Author and His Creation

6677:

Motion Pictures in Education: A Practical Handbook for Users of Visual Aids

2023: 2018: 2001: 1986: 1969:

Of particular historical interest are two independently produced series of

1849: 1756: 1737:

as an "unusually well-acted and adroitly directed underworld story". After

1693:; he directed two more of her R-C/Brentwood films, both starring his wife, 1593: 1546: 1375: 1353: 1276:. In November 1924, FBO put out Davenport's next "social problem" picture, 1253: 1230: 1204: 1160: 1133: 1115: 1047: 915: 880: 872: 864: 701: 666: 568:, Thomson was now the second-highest paid of all cowboy actors; his horse, 556: 502: 426:

Rufus Cole also entered into a working relationship with Hallmark investor

406: 364: 245: 196: 173: 123: 113: 1656: 7232:

Boris Karloff: A Critical Account of His Screen, Stage, Radio, Television

6578:

The Origins of the Jump Shot: Eight Men Who Shook the World of Basketball

2063: 2040:

newspaper comic strip, licensed by the wife-husband distribution team of

1982: 1570: 1525: 1500: 1496: 1492: 1435: 1425: 1384: 1318: 1278: 959: 856: 744: 641: 590: 548: 332: 311: 161: 153: 7078:

Stan and Ollie: The Roots of Comedy: The Double Life of Laurel and Hardy

3613:"The Man...the Product and the Master Showmen of the World [ad]" 3838: 3406:"Hollywood: Millions of Dollars Are Going into Pictures for New Season" 2472: 2424: 1978: 1720: 1709: 1686: 1598: 1484: 1463: 1417: 1310: 1222: 1195:, was top billed in at least eight FBO releases between 1922 and 1928. 1098: 955: 860: 782: 344: 249: 212: 4725:"Thomson in New Series; Flynn Signs to Make Eight Pictures for F.B.O." 2742:"Thomson in New Series; Flynn Signs to Make Eight Pictures for F.B.O." 2702:

Goodwin (1987), p. 341; Beauchamp (1998), p. 157; Jewell (1982), p. 8.

7206:. Berkeley, Los Angeles, and London: University of California Press. 7190:

King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson

6992:. Berkeley, Los Angeles, and London: University of California Press. 6948:

A Biographical Dictionary of Silent Film Western Actors and Actresses

6496:. Berkeley, Los Angeles, and London: University of California Press. 5233:

Mayer (2017), p. 280. Cf. Katchmer (2002), p. 380. Katchmer misdates

4336: 4315: 3654:

to promote FBO's upcoming slate of pictures, the two-page spread for

3643: 2214: 2197: 2059: 2036: 1970: 1759:

directed two Gothic Pictures specials in 1924 starring Evelyn Brent:

1491:(tied for sixty-sixth with, among others, Silver King), and teenager 1421: 1399: 1333: 989: 897:

in afterward. Savaging it as a "jabberwocky of inane incidents", the

683: 670: 204: 3830: 2843:"Vintage Railroad Melodramas to Be Accompanied by Live Music Sunday" 2527:"Hooray for...Colegrove? Remembering Hollywood's Forgotten Neighbor" 2117:

Slide (2013), p. 3; Miyao (2007), p. 169; Codori (2020), p. 114–15.

528: 1974: 1542: 1403: 1306: 944:

in March 1929, was packaged to exhibitors with two FBO low-budget "

720:

appeal and minimal costs. "We are trying", he declared, "to be the

7306:

The Movies Are: Carl Sandburg's Film Reviews and Essays, 1920–1928

6797:

Hollywood Stunt Performers, 1910s–1970s: A Biographical Dictionary

6252:

Ankerich (2010), chap. Alberta Vaughn; Rainey (1999), pp. 12, 76;

5748:(2005), p. 35. In the latter, the text accompanying the poster of 4364:

Beeman, Renee (February 18, 1922). "Live News of the West Coast".

3313:

Beauchamp (2009), p. 83; Lasky (1989), p. 15; Jewell (1982), p. 9.

1136:, took the lead in action pictures for FBO—"stunt dramas" such as 323:. Other companies also made films expressly for R-C distribution: 7002:

Langer, Mark (1995). "John Randolph Bray: Animation Pioneer," in

6062:"Search Results: 'William Seiter' [+] 'Palmer Photoplay'" 3258:

Beauchamp (2009), pp. 74–75, 82–83; Goodwin (1987), pp. 345, 346.

2876:

Beauchamp (2009), pp. 50–53, 79–80; Beauchamp (1998), pp. 157–58.

2220:

In May 1916, five after months the release of his breakout film,

2026:. In 1925–26, the studio put out twenty-six cartoons by animator 1446: 1388: 1361: 945: 938:. During the transitional period, the first RKO feature release, 696: 565: 237: 5923:(1920) with his own production companies. Codori (2020), p. 116. 5645: 4027: 3906: 2457:'s own production company had come out as recently as February ( 1898:, spoofing popular films and classic stories with chapters such 1689:

insisted on casting then little-known ZaSu Pitts as the lead in

1211:

starred in two of the studio's more notable productions, as did

830:

sound-on-film system was the goal—or, at least, Sarnoff's goal.

244:

technology, FBO became the second Hollywood studio to release a

39: 7106:"Bare Knees" Flapper: The Life and Films of Virginia Lee Corbin 6727:

The Film Industry in Argentina: An Illustrated Cultural History

3030: 2548: 2226:, a similar poll had ranked him number one. Miyao (2007), p. 3. 2081:

Sherwood (1923), p. 150; Ellis and Thornborough (1923), p. 262.

1828:(1928). All six were directed by Stratton-Porter's son-in-law, 1579: 1556: 1450: 1042: 207:

played the lead in twenty-nine cowboy pictures for the studio.

7479:

Joseph P. Kennedy Personal Papers Biographical/Historical Note

7383:

The Fox Film Corporation, 1915–1935: A History and Filmography

7134:

The Cinema and Its Shadow: Race and Technology in Early Cinema

6878:

The Scribner Encyclopedia of American Lives, vol. 1: 1981–1985

6306:

Erickson (2020), p. 74; Okuda and Neibaur (2012), pp. 129–65.

3530:

Beauchamp (1998), pp. 211, 217, 227; Beauchamp (2009), p. 164.

773: 631: 468: 6978:, ed. John Wakeman. New York: H. W. Wilson, pp. 172–81. 6648:

The Talkies: American Cinema's Transition to Sound, 1926–1931

6328:"Charley Bowers: The Rediscovery of an American Comic Genius" 3798:"FBO Completes First 'Talkie'; Now Synchronizing Five Others" 3746:"FBO Completes First 'Talkie'; Now Synchronizing Five Others" 6908:. Berkeley and Los Angeles: University of California Press. 6876:

Jackson, Kenneth T., Karen Markoe, and Arnie Markoe (1998).

6662:

Notable American Women, 1607–1950: A Biographical Dictionary

5911:

Gasnier also produced (but did not direct) the R-C releases

5132:"F.B.O. Has Excellent Material Lined Up for Fall and Winter" 2281:"Branch Officials of Robertson-Cole Will Confer in New York" 7355:

The New Historical Dictionary of the American Film Industry

6450:

Armstrong, Richard B., and Mary Williams Armstrong (2001).

4320:: A Historical Analysis of Oshima Nagisa's Unfinished Film" 2202:: A Historical Analysis of Oshima Nagisa's Unfinished Film" 1559:

would remain a Hollywood fixture for the next four decades.

1034:. Seven more Thomson features are held by archives abroad. 805:

and his firm Blair & Co., which had acquired the small

588:, who had died the previous December; this was followed by 6962:

Evelyn Brent: The Life and Films of Hollywood's Lady Crook

6125:"Limberlost Found: Indiana's Literary Legacy in Hollywood" 5963:"The Screen: An Irish Mother. Bootleggers and Night Clubs" 5084:

Nollen (1991), pp. 31–32, 354–58; Kear (2009), pp. 144–46.

4087:"Limberlost Found: Indiana's Literary Legacy in Hollywood" 4061:"The Survival of American Silent Feature Films: 1912–1929" 3725:. New York City Chapter of the American Guild of Organists 3110:"The Survival of American Silent Feature Films: 1912–1929" 405:. For exterior shoots, the company purchased 460 acres in 7246:

Stan Without Ollie: The Stan Laurel Solo Films, 1917–1927

6892:

The Amazing Tom Mix: The Most Famous Cowboy of the Movies

5481:"F.B.O. Has Ambitious Program of 20 Westerns for 1927-28" 4699:"Thomson of F.B.O. Discusses 'Bread and Butter' Pictures" 4522:"Thomson of F.B.O. Discusses 'Bread and Butter' Pictures" 3222:

Lasky (1989), pp. 12–13, 14–15; Beauchamp (1998), p. 180.

3135:"Thomson of F.B.O. Discusses 'Bread and Butter' Pictures" 2760:"Thomson of F.B.O. Discusses 'Bread and Butter' Pictures" 2544: 1215:

Pauline Frederick returned in 1926 for the title role in

265: 7176:

Sessue Hayakawa: Silent Cinema and Transnational Stardom

7160:

McCaffrey, Donald W., and Christopher P. Jacobs (1999).

6466:

Hollywood Cartoons: American Animation in Its Golden Age

3743:

Crafton (1997), pp. 140, 304; Koszarski (1990), p. 169;

1973:

comedies released by the studio: Between 1924 and 1927,

227:

were consistently among its top box office attractions.

2430:"Announcement: Change of Practice of Cover Line Dating" 1081:, celebrated for her performance in the September 1920 6783:

Buster Keaton's Crew: The Team Behind His Silent Films

6660:

Davies, Wallace Evan (1971). "Frederick, Pauline," in

6534:

Block, Alex Ben, and Lucy Autrey Wilson, eds. (2010).

5712:

Mayer (2017), p. 69; Katchmer (1991), pp. 122–24, 133.

5159:"Rambova F.B.O. Picture Titled 'When Love Grows Cold'" 4417:

Stumpf (2010), pp. 13–14, 116–17; Slide (2013), p. 27.

3279:"Intimate Visits to the Homes of Famous Film Magnates" 1107:(1919) gave Pitts her first ever top billing—from the 195:

were the major stars of its R-C period. Subsequently,

7369:

The Silent Feminists: America's First Women Directors

7004:

American Silent Film: Discovering Marginalized Voices

5721:

Lasky (1989), pp. 16–17; Katchmer (2002), pp. 17, 83.

4115:"Silent Movie Cowboy Star Fred Thomson: Cowboy Films" 3349:

Beauchamp (2009), p. 84. See also Kear (2009), p. 38.

2447:

The production history of the March 1920 R-C release

2416:

was clearly released first. Indeed, though AFI lists

1926:). Vaughn had solo top billing in the comedic series 1783:

produced and directed eight films for FBO. Historian

1199:

headlined multiple features as well as short series.

1050:, star of fourteen FBO releases between 1924 and 1926 871:. The first film directed by admired cinematographer 663:

Motion Picture Producers and Distributors Association

6864:

Heritage Vintage Movie Poster Signature Auction #624

6851:

Heritage Vintage Movie Poster Signature Auction #607

6838:

Heritage Vintage Movie Poster Signature Auction #603

6769:

Wallace Reid: The Life and Death of a Hollywood Idol

4371:"New Story by Louis Stevens, to Pauline Frederick". 2307:"Guide to Current Pictures: Robertson-Cole Pictures" 704:, FBO's biggest box-office draw during the mid-1920s 521:, who specialized in shorts: most of her films were 6636:. Chicago and London: University of Chicago Press. 5808:

Slide (2022), pp. 88–89; Lussier (2018), pp. 95–96.

2889:"Art...and Right Hooks: The Story of George O'Hara" 1270:, directing and starring in his last feature film, 1077:opened, he sued the studio for breach of contract. 1037: 7288:Serials and Series: A World Filmography, 1912–1956 6825:The Fitzgeralds and the Kennedys: An American Saga 6674:Ellis, Don Carlos, and Laura Thornborough (1923). 6044:"Search Results: 'William Seiter' [+] FBO" 5740:For examples of how such films were marketed, see 3089:Beauchamp (1998), p. 157; Lasky (1989), pp. 14–15. 2427:March 20—and actually published ten days earlier. 434:and then a broker at the New York banking firm of 7584:Defunct mass media companies of the United States 7322:. Durham, NC, and London: Duke University Press. 7178:. Durham, NC, and London: Duke University Press. 6853:. Dallas: Heritage Vintage Movie Posters, 2004b. 6840:. Dallas: Heritage Vintage Movie Posters, 2004a. 6592:Film History through Trade Journal Art, 1916–1920 6089:"Search Results: 'Emory Johnson' [+] FBO" 5856:Armstrong (2007), p. 235; Sweeney (2007), p. 210. 5617:Jensen (2005), pp. 120; Brichard (1993), p. 216; 4066:. Library of Congress. pp. 1, 41, and passim 3098:Jewell (2012), pp. 9–10; Lasky (1989), pp. 14–17. 1890:'s initial short series for FBO—each directed by 1479:In addition to these major draws, there was also 584:, an adaptation of a novel by bestselling author 223:. From 1925 forward, adaptations of the works of 7495: 6866:. Dallas: Heritage Vintage Movie Posters, 2005. 6753:Firestone, Bruce M. (2010 ). "Fred Thomson," in 6452:Encyclopedia of Film Themes, Settings and Series 6436:Armstrong, Richard (2007). "James W. Horne," in 4230:"Search Results: 'Fred Thomson' [+] FBO" 2313:. March 20, 1920. p. 98; see also pp. 78–79 1977:provided FBO with a substantial annual slate of 551:, each of its "chapters" was a stand-alone tale. 319:, whose films were produced by his own company, 7439:This Was Hollywood: Forgotten Stars and Stories 6918:Jewell, Richard B., with Vernon Harbin (1982). 6813:. New Brunswick, NJ: Rutgers University Press. 6508:Joseph P. Kennedy Presents: His Hollywood Years 6255:"F.B.O. Sets Releases on Program for September" 6216:Beauchamp (1998), pp. 168, 181, 211–12, 451–52. 5505:Katchmer (2002), p. 380; Rainey (1987), p. 139. 4494:"F.B.O. Sets Releases on Program for September" 3888:Beauchamp (2009), p. 224; Jewell (2012), p. 18. 3441: 3422: 3331:Goodwin (1987), p. 347–48; Lasky (1989), p. 14. 3153:"F.B.O. Sets Releases on Program for September" 2778:"F.B.O. Sets Releases on Program for September" 1865: 1531: 1256:, brought on by morphine addiction, his widow, 728:of the motion picture industry rather than the 677:faith in its prospects. As renowned journalist 7564:Film production companies of the United States 7244:Okuda, James L., and James L. Neibaur (2012). 7136:. Minneapolis: University of Minnesota Press. 5935:"Search Results: 'Ralph Ince' [+] FBO" 5051:"Search Results: 'Viola Dana' [+] FBO" 4408:Liebman (2017), p. 102; Davies (1971), p. 666. 4227:(both 1925) exist somewhere in private hands. 4111:Boggs (2011), p. 44; Katchmer (2002), p. 371; 3638:Crafton (1997), p. 140. According to Crafton, 2108:Codori (2020), p. 113–14; Nasaw (2012), p. 69. 1707:, directed several films for the company—from 1701:, responsible for the blockbuster 1914 serial 509:. An in-house series of boxing-themed shorts, 401:, then adjacent to but soon to be subsumed by 7455:. Hollywood, CA: Blue Book of the Screen Inc. 6622:. Hanover, MA: Christopher Publishing House. 4786:Long (2012), pp. 16–20; Jewell (1982), p. 8. 1818:(1927)—and was itself producer of record for 1538:List of Film Booking Offices of America films 1221:. When Evelyn Brent departed, Kennedy signed 1163:. Signing a new contract in 1925, the former 7481:includes a summary of Kennedy's FBO dealings 7425:Thomas Ince: Hollywood's Independent Pioneer 7413:. Jackson: University Press of Mississippi. 7162:Guide to the Silent Years of American Cinema 6482:. Berkeley: University of California Press. 5129:Lussier (2018), p. 95; Slide (2022), p. 88; 5105:"Haldane of the Secret Service [ad]" 4119:Readers of the Purple Sage Western Bookstore 3488:"Staff Writers Are Banned at F.B.O. Studios" 3468:Goodwin (1987), p. 348; Jewell (1982), p. 9. 2983: 2669:"The Mistress of Shenstone [review]" 2344:. March 20, 1920. p. 55; see also p. 98 2235:Codori (2020), p. 114; Slide (2013), p. 175. 1487:(tied for thirty-seventh in the 1927 poll), 1114:In the years after the studio's rebranding, 1012:. About three reels' worth of the five-reel 7579:Defunct companies based in New York (state) 7544:Mass media companies disestablished in 1929 7427:. Lexington: University Press of Kentucky. 6974:Kemp, Philip (1987). "Curtiz, Michael," in 6634:Before Mickey: The Animated Film, 1898–1928 2885:Foote (2014), p. 100; Wing (1924), p. 193; 2675:. March 5, 1921. p. 45; see also p. 80 2270:Codori (2020), p. 115; Jewell (1982), p. 8. 1324: 768: 644:department store owner Louis Kirstein, and 293:December 1921 Robertson-Cole ad, featuring 133:1922–1925: 723 Seventh Avenue, New York, NY 7514:1929 disestablishments in New York (state) 6606:The Silents: Silent Feature Films, 1910–36 6285:Exhibitors Herald and Moving Picture World 5816: 5814: 5624:Exhibitors Herald and Moving Picture World 5597:Exhibitors Herald and Moving Picture World 5515: 5513: 5511: 3704:Exhibitors Herald and Moving Picture World 3684:Exhibitors Herald and Moving Picture World 3665:Exhibitors Herald and Moving Picture World 3617:Exhibitors Herald and Moving Picture World 2543:The address of the studio (later owned by 2161: 2159: 1938:, including the second twelve chapters of 1723:, younger brother of celebrated filmmaker 1509:(1925). For a small role in the melodrama 1395:, said that he had lost his will to live. 1309:, marked the film debut of football great 1285:When the biggest movie star in the world, 1207:were among the other popular FBO players. 863:, opened on August 4, 1928, at the Rivoli 38: 7529:American companies disestablished in 1929 7341:Hollywood Cinema and the Real Los Angeles 7032:RKO: The Biggest Little Major of Them All 6976:World Film Directors, Volume 1: 1890–1945 6580:. Lincoln: University of Nebraska Press. 5652:"Money Making Stars and Pictures of 1928" 4335: 4034:"Money Making Stars and Pictures of 1928" 3913:"Money Making Stars and Pictures of 1928" 3444:"The Keeper of the Bees [part 8]" 3425:"The Keeper of the Bees [part 1]" 2213: 2048:. While the Winkler–Mintz operation took 1930:(1925–26) and the baseball-themed serial 7539:Mass media companies established in 1919 7534:Mass media companies established in 1918 7371:. Lanham, MD: Rowman & Littlefield. 7094:. Ithaca, NY: Cornell University Press. 6129:Traces of Indiana and Midwestern History 4390:. Stanford University. December 18, 2021 4091:Traces of Indiana and Midwestern History 3442:Stratton-Porter, Gene (September 1925). 3010: 2990: 2960:"Offeman v. Robertson-Cole Studios, Inc" 2715:"Offeman v. Robertson-Cole Studios, Inc" 1869: 1655: 1541: 1440: 1328: 1041: 973: 875:, it was also the first feature-length " 832: 772: 695: 630: 626: 527: 467: 288: 260:arranged the merger between FBO and the 7509:1919 establishments in New York (state) 7504:1918 establishments in New York (state) 7473:The Early Sound Films of Radio Pictures 6480:The Animated Man: A Life of Walt Disney 6189:as "the surprise picture of the year." 6122: 5811: 5508: 5196:"The Screen: 'Red' Grange's First Film" 4084: 3816: 3423:Stratton-Porter, Gene (February 1925). 3285:. pp. 50–51, 122–25 (quote at 125) 3276: 3033:"Consumer Price Index (estimate) 1800–" 2524: 2156: 883:since the epochal premiere of Warners' 14: 7559:Film distributors of the United States 7524:American companies established in 1919 7519:American companies established in 1918 7496: 6620:The Hall of Fame of Western Film Stars 6325: 4454: 4363: 4058: 3403: 3198:"Search Results: 'Gothic Productions'" 3107: 2974: 2931:Ankerich (2010), chap. Alberta Vaughn. 2525:Masters, Nathan (September 27, 2013). 203:were FBO's biggest non-Western stars. 135:1926–1929: 1560 Broadway, New York, NY 27:American film studio of the silent era 6880:. New York: Charles Scribner's Sons. 6650:. New York: Charles Scribner's Sons. 6468:. New York: Oxford University Press. 6281:"World's Greatest Rodeo [ad]" 6093:American Silent Feature Film Database 6066:American Silent Feature Film Database 6048:American Silent Feature Film Database 5986:McCaffrey and Jacobs (1999), p. 166; 5939:American Silent Feature Film Database 5055:American Silent Feature Film Database 4696: 4519: 4313: 4234:American Silent Feature Film Database 3202:American Silent Feature Film Database 3184:American Silent Feature Film Database 3177:Kear (2009), pp. 30, 142–44, 146–48. 3031:Federal Reserve Bank of Minneapolis. 2757: 2195: 1985:, before his famous partnership with 879:" to appear from a studio other than 152:, was an American film studio of the 7357:. Abingdon and New York: Routledge. 7018:American Film Cycles: The Silent Era 6960:Kear, Lynn, with James King (2009). 6799:, 2nd ed. Jefferson, NC: McFarland. 6392: 6365: 6007:"Sting of the Lash [review]" 5960: 5194:Hall, Mordaunt (September 6, 1926). 5193: 4518:Freese (2014), pp. 3, 93, 171, 278; 4473: 3557:. December 24, 1927. pp. 145–46 3539:McCaffrey and Jacobs (1999), p. 266. 2886: 2495: 2471:as a "'B.B.' feature," and at least 535:(1924) was the tenth installment of 7334:The Best Moving Pictures of 1922–23 7046:Broadway Actors in Films, 1894–2015 6922:. New York: Arlington House/Crown. 6906:RKO Radio Pictures: A Titan Is Born 6522:King Cowboy: Tom Mix and the Movies 5527:. December 31, 1927. pp. 22–23 5429:. December 31, 1927. pp. 22–23 5357:. December 31, 1927. pp. 22–23 5249:(1928) from his Tyler filmography. 4017:. December 24, 1927. pp. 36–37 3999:. December 25, 1926. pp. 38–39 3981:. December 25, 1925. pp. 54–57 3375:. December 25, 1926. pp. 54–57 3180:"Search Results: 'Gothic Pictures'" 3070:. December 25, 1925. pp. 54–57 969: 279: 24: 6827:. New York: Simon & Schuster. 6287:. May 19, 1928. pp. 45, 49–53 6192:"We've Quit Guessing [ad]" 5676:Jensen (2005), pp. 116–18, 120–23. 4627:. October 30, 1926. pp. 54–57 4476:"Smooth as Satin [review]" 4455:Sewell, C. S. (February 7, 1925). 4112: 4011:"The Biggest Money Makers of 1927" 3993:"The Biggest Money Makers of 1926" 3975:"The Biggest Money-Makers of 1925" 3772:"The Screen: That Old Devil Crime" 3551:"The Biggest Money Makers of 1927" 3369:"The Biggest Money Makers of 1926" 3064:"The Biggest Money-Makers of 1925" 2651:"The Mistress of Shenstone (1921)" 1364:. When one of Thomson's "oaters", 815:Producers Distributing Corporation 430:, father of future U.S. president 25: 7600: 7460: 7276:. Metuchen, NJ: Scarecrow Press. 7164:. Westport, CT: Greenwood Press. 7020:. Westport, CT: Greenwood Press. 6566:. Westport, CT: Greenwood Press. 6564:Boris Karloff: A Bio-Bibliography 5192:Beauchamp (2009), pp. 80–82, 87; 5183:Quoted in Goodwin (1987), p. 347. 4957:Jewell (1982), pp. 8–9. Nilsson: 4761:"New Pictures: High and Handsome" 4457:"Midnight Molly [review]" 4435:Kear (2009), pp. 31, 35, 144–45; 4121:. Nordell Online Bookstores Group 3706:. August 11, 1928. pp. 26–27 3277:Ramsaye, Terry (September 1927). 3115:. Library of Congress. p. 41 2727:See also Beauchamp (2009), p. 74. 2252:. November 15, 1919. p. 3597 2016:'s cartoon studio, including the 1111:, founded by a group of doctors. 463: 353:On the Borderland of Civilization 252:". Two months later, Kennedy and 7574:Companies based in New York City 7467:The Silent Films of FBO Pictures 7148:Encyclopedia of American Serials 7034:. Santa Monica, CA: Roundtable. 6755:American Classic Screen Profiles 6524:. Burbank, CA: Riverwood Press. 6385: 6358: 6345: 6318: 6309: 6300: 6273: 6246: 6237: 6228: 6219: 6210: 6177:Quoting raves from the New York 6116: 6107: 6080: 6035: 6026: 5980: 5961:Hall, Mordaunt (March 6, 1928). 5954: 5926: 5868: 5859: 5850: 5841: 5832: 5823: 5820:Quoted in Fenton (2002), p. 107. 5802: 5793: 5784: 5775: 5766: 5757: 5734: 5724: 5715: 5706: 5697: 5688: 5679: 5670: 5639: 5620:"Tom Mix and Tony Are FBO Stars" 5611: 5584: 5539: 5499: 5473: 5460: 5414: 5405: 5396: 5387: 5342: 5227: 5218: 5186: 5177: 5150: 5123: 5096: 5087: 5078: 5069: 5042: 5033: 4951: 4942: 4933: 4780: 4767:. September 19, 1925. p. 58 4717: 4697:Smith, Sumner (August 1, 1925). 4647: 4613: 4520:Smith, Sumner (August 1, 1925). 4384:"The Films of Pauline Frederick" 4059:Pierce, David (September 2013). 3700:"The Perfect Crime [ad]" 3680:"The Perfect Crime [ad]" 3661:"The Perfect Crime [ad]" 3108:Pierce, David (September 2013). 2913:. September 29, 1923. p. 75 2840:Lasky (1989), p. 13. See, e.g., 2758:Smith, Sumner (August 1, 1925). 2408:While the AFI catalog describes 2138:"And a Still Small Voice (1918)" 1233:played the lead in three films. 1038:Headliners and celebrity casting 994:National Film Preservation Board 284: 7409:Sweeney, Kevin W., ed. (2007). 7397:ZaSu Pitts: The Life and Career 7332:Sherwood, Robert Emmet (1923). 6562:Buehrer, Beverley Bare (1993). 6426:. Duncan, OK: BearManor Media. 6198:. October 18, 1924. p. 115 5847:Finler (1988), pp. 173, 184–85. 5593:"Tom & Tony 'Stand 'Em Up'" 5165:. December 25, 1925. p. 40 5075:Vogel (2010), pp. 5, 94, 105–6. 4789:"In the Name of the Law (1922)" 4610:Kear (2009), pp. 38–40, 148–50. 4604: 4578: 4540: 4512: 4474:Reid, Laurence (July 4, 1925). 4444:. January 31, 1925. p. 414 4429: 4420: 4411: 4402: 4344: 4306: 4261: 4252: 4169: 4160: 4151: 4105: 4078: 4052: 3966: 3940: 3931: 3900: 3891: 3882: 3873: 3864: 3855: 3845: 3790: 3764: 3737: 3632: 3605: 3578: 3569: 3542: 3533: 3524: 3515: 3506: 3480: 3471: 3462: 3387:"The Keeper of the Bees (1925)" 3361: 3352: 3343: 3334: 3325: 3316: 3307: 3298: 3270: 3261: 3252: 3243: 3234: 3225: 3216: 3171: 3127: 3101: 3092: 3083: 3056: 3046: 2952: 2943: 2934: 2925: 2879: 2870: 2861: 2834: 2796:"F.B.O. Launches Western Drive" 2733: 2705: 2696: 2687: 2642: 2633: 2624: 2597: 2588: 2562: 2516: 2504:. Columbia University Libraries 2478:"A Woman Who Understood (1920)" 2436:. December 25, 1925. p. 43 2326: 2323:See also Codori (2020), p. 116. 2299: 2273: 2264: 1673:, who would go on to work with 1434:(1926), a twenty-five-year-old 635:FBO distribution logo from 1926 176:, who grew by 1925 into one of 142:Film Booking Offices of America 33:Film Booking Offices of America 7118:Lyons, Timothy James (1974 ). 6823:Goodwin, Doris Kearns (1987). 6680:. New York: Thomas V. Crowell. 6324:Crafton (1993), p. 362 n. 39; 6013:. October 21, 1921. p. 36 5790:Quoted in Lasky (1989), p. 14. 5448:. October 30, 1926. p. 54 5375:. October 30, 1926. p. 54 5111:. October 27, 1923. p. 75 4825:"The Westbound Limited (1923)" 4373:Canadian Moving Picture Digest 3686:. July 7, 1928. pp. 20–21 3231:Quoted in Lasky (1989), p. 12. 2887:Carr, Harry (September 1923). 2802:. November 7, 1925. p. 27 2238: 2229: 2188: 2120:"The Girl of My Dreams (1918)" 2111: 2102: 2093: 2084: 2075: 1370:(1926), made it to New York's 1073:-born actor. Two months after 716:. The focus was on films with 693:current news from Hollywood." 13: 1: 7554:Defunct American film studios 7549:1928 mergers and acquisitions 7290:. Jefferson, NC:: McFarland. 7262:. Dallas: Taylor Publishing. 7150:. Jefferson, NC:: McFarland. 7090:Lupack, Barbara Tepa (2020). 6422:Ankerich, Michael G. (2010). 6261:. August 1, 1925. p. 559 6123:Grayson, Eric (Winter 2007). 5581:Beauchamp (2009), pp. 165–66. 4897:"Bigger than Barnum's (1926)" 4740:Christgau (1999), pp. 55–59. 4500:. August 1, 1925. p. 559 4438:"Midnight Molly [ad]" 4388:The Pauline Frederick Website 4375:. March 18, 1922. p. 17. 4288:"The Vermilion Pencil (1922)" 4166:Beauchamp (2009), pp. 235–36. 4157:Firestone (2010), pp. 73, 77. 4085:Grayson, Eric (Winter 2007). 3804:. August 11, 1928. p. 31 3752:. August 11, 1928. p. 31 3431:. pp. 5–7, 27–28, 47, 49 3404:Murray, Ray (June 27, 1925). 3159:. August 1, 1925. p. 559 3141:. August 1, 1925. p. 506 2962:. Casetext. November 26, 1926 2907:"Fighting Blood [ad]" 2784:. August 1, 1925. p. 559 2717:. Casetext. November 26, 1926 2570:"Robertson-Cole Buys a Ranch" 2453:is unclear. A film from star 1470:derided Mix's last FBO film, 1273:Haldane of the Secret Service 837:FBO promotion often involved 371:that same month, directed by 264:theater circuit that created 7399:. Jefferson, NC: McFarland. 7385:. Jefferson, NC: McFarland. 7248:. Jefferson, NC: McFarland. 7234:. Jefferson, NC: Mcfarland. 7230:Nollen, Scott Allen (1991). 7108:. Jefferson, NC: McFarland. 7048:. Jefferson, NC: McFarland. 6964:. Jefferson, NC: McFarland. 6950:. Jefferson, NC: McFarland. 6946:Katchmer, George A. (2002). 6936:. Jefferson, NC: McFarland. 6932:Katchmer, George A. (1991). 6785:. Jefferson, NC: McFarland. 6771:. Jefferson, NC: McFarland. 6729:. Jefferson, NC: McFarland. 6715:. Jefferson, NC: McFarland. 6697:Everson, William K. (1998). 6687:. Jefferson, NC: McFarland. 6604:Connelly, Robert B. (1998). 6594:. Jefferson, NC: McFarland. 6552:. Jefferson, NC: McFarland. 6520:Birchard, Robert S. (1993). 6454:. Jefferson, NC: McFarland. 6364:Barrier (2003), pp. 30, 48; 5763:Sandburg (1925), pp. 270–71. 5599:. April 28, 1928. p. 18 5571:. April 11, 1928. p. 45 5487:. June 11, 1927. p. 422 5324:"The Pride of Pawnee (1929)" 5252:"Let's Go, Gallagher (1925)" 5138:. July 12, 1924. p. 123 4133:"Galloping Gallagher (1924)" 3948:"Pals of the Prairie (1929)" 3667:. May 19, 1928. pp. 6–7 3619:. May 19, 1928. pp. 4–5 3494:. June 11, 1927. p. 405 3450:. p. 24, 26, 56, 62, 70 3025:American Antiquarian Society 3005:American Antiquarian Society 2822:. June 11, 1927. p. 403 2496:Lund, Maria Fosheim (2013). 2287:. March 20, 1920. p. 44 1878:distributed by "Greater FBO" 1866:Short subjects and animation 1733:(1928) was described by the 1622:The Adventures of Robin Hood 1532:Notable films and filmmakers 1179:who had appeared in several 869:Manhattan's Theater District 787:Radio Corporation of America 559:, his wife, moved over from 329:Jesse D. Hampton Productions 321:Haworth Pictures Corporation 81:; 102 years ago 7: 7453:The Blue Book of the Screen 7258:Quirk, Lawrence J. (1996). 7220:. New York: Penguin Press. 7202:Munden, Kenneth W. (1971). 6988:Koszarski, Richard (1990). 6904:Jewell, Richard B. (2012). 6890:Jensen, Richard D. (2005). 6795:Freese, Gene Scott (2014). 6618:Corneau, Ernest N. (1969). 6608:. Chicago: December Press. 6538:. New York: HarperCollins. 6395:"That Crazy Cat Bill Nolan" 6393:Coar, Bob (March 7, 2022). 6368:"That Crazy Cat Bill Nolan" 6366:Coar, Bob (March 7, 2022). 6315:Louvish (2001), pp. 171–72. 6297:Erickson (2020), pp. 74–76. 5995:. June 17, 1921. p. 34 5865:Stumpf (2010), pp. 13, 116. 5553:. April 4, 1928. p. 14 5039:Nollen (1991), pp. 34, 356. 4730:. May 23, 1925. p. 104 4217:(1927). Abridged prints of 2747:. May 23, 1925. p. 104 2576:. June 26, 1920. p. 83 2502:Women Film Pioneers Project 2460:The Luck of Geraldine Laird 1685:At the age of twenty-five, 1638:Una Nueva y gloriosa nación 640:Boston lawyer Guy Currier, 487:Chester Bennett Productions 367:began to appear, including 10: 7605: 7437:Valderrama, Carla (2020). 7343:. London: Reaktion Books. 7080:. New York: St. Martin's. 6894:. Lincoln, NE: iUniverse. 6725:Finkielman, Jorge (2004). 6550:Jesse James and the Movies 6415: 5989:"Salvage [review]" 5874:Koszarski (1990), p. 271. 5626:. May 19, 1928. p. 89 5442:"60 Best Box Office Names" 5369:"60 Best Box Office Names" 5348:Beauchamp (1998), p. 224; 4749:. June 6, 1925. p. 63 4743:"New Pictures: Speed Wild" 4621:"60 Best Box Office Names" 1944:, starring seven-year-old 1862:was also an FBO graduate. 1771:. In 1921 and 1922 alone, 1589:Tarzan and the Golden Lion 1552:Tarzan and the Golden Lion 1535: 1391:; his widow, screenwriter 1109:Brentwood Film Corporation 1101:acted in six R-C releases— 491:Hunt Stromberg Productions 452:, a former headliner with 7488:(1926)—The Surviving Reel 7336:. Boston: Small, Maynard. 7260:The Kennedys in Hollywood 6711:Fenton, James W. (2002). 6548:Boggs, Johnny D. (2011). 6478:Barrier, Michael (2008). 6464:Barrier, Michael (2003). 6167:. American Film Institute 6149:. American Film Institute 5901:. American Film Institute 5895:"The Call of Home (1922)" 5883:. American Film Institute 5838:Finkielman (2004), p. 84. 5772:Valderrama (2020), p. 21. 5420:Beauchamp (2009), p. 82; 5330:. American Film Institute 5312:. American Film Institute 5294:. American Film Institute 5288:"Tom and His Pals (1926)" 5276:. American Film Institute 5258:. American Film Institute 5048:Beauchamp (2009), p. 84; 5021:. American Film Institute 5003:. American Film Institute 4997:"Dead Man's Curve (1928)" 4984:. American Film Institute 4966:. American Film Institute 4921:. American Film Institute 4915:"Crooks Can't Win (1928)" 4903:. American Film Institute 4885:. American Film Institute 4879:"The Last Edition (1925)" 4867:. American Film Institute 4849:. American Film Institute 4831:. American Film Institute 4813:. American Film Institute 4795:. American Film Institute 4686:. American Film Institute 4592:. American Film Institute 4566:. American Film Institute 4294:. American Film Institute 4276:. American Film Institute 4139:. American Film Institute 3954:. American Film Institute 3861:Nasaw (2012), pp. 129–31. 3548:Nasaw (2012), pp. 106–7; 3393:. American Film Institute 3322:Beauchamp (2009), p. xvi. 2657:. American Film Institute 2612:. American Film Institute 2484:. American Film Institute 2380:. American Film Institute 2362:. American Film Institute 2144:. American Film Institute 2126:. American Film Institute 1779:. Between 1922 and 1926, 1740:The Mistress of Shenstone 1643:The Charge of the Gauchos 1513:(1922), a three-year-old 1453:were ultimately scrapped. 966:, released July 7, 1929. 793:, and allied shareholder 441:The Mistress of Shenstone 129: 119: 114:Radio-Keith-Orpheum Corp. 108: 93: 75: 67: 59: 49: 37: 7451:Wing, Ruth, ed. (1924). 7411:Buster Keaton Interviews 7395:Stumpf, Charles (2010). 7381:Solomon, Aubrey (2011). 7367:Slide, Anthony (2022 ). 7353:Slide, Anthony (2013 ). 7300:Sandburg, Carl (1925). " 7122:. New York: Arno Press. 6809:Gates, Philippa (2019). 6739:Finler, Joel W. (1988). 6646:Crafton, Donald (1997). 6632:Crafton, Donald (1993). 6576:Christgau, John (1999). 6506:Beauchamp, Cari (2009). 6492:Beauchamp, Cari (1998). 6187:A Girl of the Limberlost 6086:Fleming (2007), p. 269; 5306:"Terror Mountain (1928)" 5224:Beauchamp (2009), p. 82. 5156:Goodwin (1987), p. 341; 4807:"The Third Alarm (1923)" 4777:Connelly (1998), p. 105. 4270:"A Heart in Pawn (1919)" 4258:Kear (2009), pp. 142–48. 3521:Beauchamp (2009), p. 80. 2356:"The Third Woman (1920)" 2090:Beauchamp (2010), p. 70. 2069: 1906:, with episodes such as 1797:A Girl of the Limberlost 1669:(1924), was directed by 1663:'s fourth film for FBO, 1325:Western and canine stars 1155:Beginning in late 1924, 769:Sound enters the picture 581:A Girl of the Limberlost 513:, starring FBO newcomer 7318:Schaefer, Eric (1999). 7174:Miyao, Daisuke (2007). 7132:Maurice, Alice (2013). 7076:Louvish, Simon (2001). 7058:Long, Harry H (2012). " 7016:Langman, Larry (1998). 6767:Fleming, E. J. (2007). 6438:The Rough Guide to Film 6113:Everson (1998), p. 142. 5648:Exhibitors Herald-World 5565:"Inside Stuff—Pictures" 5521:"The Big Names of 1927" 5423:"The Big Names of 1927" 5351:"The Big Names of 1927" 5270:"The Cowboy Cop (1926)" 4960:"Vanity's Price (1924)" 4948:Jewell (1982), pp. 8–9. 4586:"The Better Man (1926)" 4366:Exhibitors Trade Review 4314:Miyao, Daisuke (2017). 4030:Exhibitors Herald-World 3909:Exhibitors Herald-World 3358:Goodwin (1987), p. 348. 3340:Goodwin (1987), p. 347. 2800:Exhibitors Trade Review 2374:"The Wonder Man (1920)" 2196:Miyao, Daisuke (2017). 1928:The Adventures of Mazie 1473:The Big Diamond Robbery 1374:, the growing studio's 1289:, split from his wife, 1218:Her Honor, the Governor 710:First National Pictures 669:—the industry's future 621:major Hollywood studios 543:'s first FBO series of 355:, filmed by adventurer 7441:. New York: Hachette. 7423:Taves, Brian. (2012). 7192:. New York: Applause. 6683:Erickson, Hal (2020). 6183:Motion Picture Journal 6143:"The Harvester (1927)" 5685:Jensen (2005), p. 123. 5656:Motion Picture Almanac 4939:Rainey (1999), p. 177. 4861:"Untamed Youth (1924)" 4662:The Millionaire Cowboy 4641:Love 'Em and Leave 'Em 4267:Miyao (2007), p. 334; 4038:Motion Picture Almanac 3917:Motion Picture Almanac 3080:Lussier (2018), p. 95. 2949:Rainey (1999), p. 234. 2940:Solomon (2011), p. 71. 2469:A Woman Who Understood 2450:A Woman Who Understood 1879: 1803:The Keeper of the Bees 1790:Author and naturalist 1730:Chicago After Midnight 1682: 1631:(1942) under the name 1560: 1454: 1349: 1051: 985: 981:The Keeper of the Bees 935:The Great Mail Robbery 924:The Keeper of the Bees 846: 817:(PDC), famed director 809:studio and a stake in 778: 739:The Keeper of the Bees 705: 636: 552: 473: 351:to a biweekly series, 301: 233:The Keeper of the Bees 112:Assets transferred to 7286:Rainey, Buck (1999). 7272:Rainey, Buck (1987). 7216:Nasaw, David (2012). 7146:Mayer, Geoff (2017). 7104:Lussier, Tim (2018). 7044:Liebman, Roy (2017). 7030:Lasky, Betty (1989). 6781:Foote, Lisle (2014). 6701:. New York: Da Capo. 6590:Codori, Jeff (2020). 6326:Bourne, Mark (2004). 6234:Morton (2005), p. 43. 6095:. Library of Congress 6068:. Library of Congress 6050:. Library of Congress 5941:. Library of Congress 5703:Quirk (1996), p. 303. 5102:Jewell (2012) p. 10; 5057:. Library of Congress 5015:"The Jazz Age (1929)" 4236:. Library of Congress 3937:Jewell (1988), p. 20. 3870:Jewell (2012), p. 16. 3477:Finler (1988), p. 36. 3204:. Library of Congress 3186:. Library of Congress 2867:Jewell (2012), p. 10. 2648:Jewell (1982), p. 8. 2630:Miyao (2007), p. 169. 2603:Jewell (1982), p. 8. 2594:Shiel (2012), p. 149. 2167:"Robertson-Cole Buys" 1908:Merton of the Goofies 1900:A Kick for Cinderella 1873: 1752:The Sting of the Lash 1704:The Perils of Pauline 1659: 1545: 1536:Further information: 1444: 1332: 1213:Douglas Fairbanks Jr. 1186:The Birth of a Nation 1157:Maurice "Lefty" Flynn 1045: 977: 836: 776: 699: 634: 627:Kennedy takes command 531: 472:FBO logo from 1924–25 471: 292: 240:. That August, using 7589:Gene Stratton-Porter 7339:Shiel, Mark (2012). 7188:Morton, Ray (2005). 6699:American Silent Film 6259:Moving Picture World 5829:Kemp (1987), p. 173. 5799:Lasky (1989), p. 14. 5744:(2004a), p. 79, and 5485:Moving Picture World 5393:Lasky (1989), p. 16. 5136:Moving Picture World 4843:"The Mailman (1923)" 4747:Moving Picture World 4728:Moving Picture World 4703:Moving Picture World 4526:Moving Picture World 4498:Moving Picture World 4480:Moving Picture World 4461:Moving Picture World 4442:Moving Picture World 3716:For the Rivoli, see 3492:Moving Picture World 3157:Moving Picture World 3139:Moving Picture World 2980:Jewell (1982), p. 8. 2895:. pp. 21–22, 88 2820:Moving Picture World 2782:Moving Picture World 2764:Moving Picture World 2745:Moving Picture World 2673:Moving Picture World 1913:Merton of the Movies 1792:Gene Stratton-Porter 1584:Edgar Rice Burroughs 1574:(1924), directed by 1409:Moving Picture World 1305:(1926), directed by 1296:When Love Grows Cold 1075:The Vermilion Pencil 1066:The Vermilion Pencil 1032:George Eastman House 1021:The Dangerous Coward 823:vertical integration 607:The Wild Bull's Lair 586:Gene Stratton-Porter 454:Famous Players–Lasky 419:(1920), directed by 225:Gene Stratton-Porter 71:Robertson-Cole Corp. 7274:Heroes of the Range 7060:Avenging Conscience 6743:. New York: Crown. 6741:The Hollywood Story 6510:. New York: Knopf. 5914:The Beloved Cheater 5877:"Good Women (1921)" 5547:"Preparing for Mix" 5468:Let's Go, Gallagher 5235:Let's Go, Gallagher 4463:. pp. 558, 586 4247:Galloping Gallagher 3304:Kear (2009), p. 38. 2816:"F.B.O. Is Now FBO" 2574:Motion Picture News 2498:"Bessie Barriscale" 2250:Motion Picture News 1762:The Dangerous Flirt 1360:poll, right behind 1345:The Pride of Pawnee 1339:Let's Go, Gallagher 1046:Publicity photo of 1015:Galloping Gallagher 951:Pals of the Prairie 916:Radio-Keith-Orpheum 889:ten months before. 811:Keith-Albee-Orpheum 754:Metro-Goldwyn-Mayer 700:Publicity photo of 654:Frederick H. Prince 495:Tiffany Productions 411:neoclassical façade 393:and starring boxer 365:feature productions 262:Keith-Albee-Orpheum 34: 5237:as 1924 and omits 4668:Smilin' at Trouble 4665:(both 1924), then 4560:"Richard Talmadge" 4548:Laughing at Danger 4224:That Devil Quemado 4208:Lone Hand Saunders 2849:. October 19, 2021 2022:series created by 2014:John Randolph Bray 1880: 1785:William K. Everson 1683: 1608:Die Sklavenkönigin 1561: 1455: 1350: 1302:One Minute to Play 1052: 986: 847: 779: 777:FBO logo from 1928 706: 650:Armour and Company 637: 553: 537:The Telephone Girl 474: 399:Colegrove district 395:Georges Carpentier 302: 150:FBO Pictures Corp. 32: 7447:978-0-7624-9586-3 7433:978-0-8131-3422-2 7419:978-1-57806-962-0 7405:978-0-7864-4620-9 7391:978-0-7864-6286-5 7377:978-1-5381-6552-2 7363:978-1-579-58056-8 7349:978-1-86189-902-6 7296:978-0-7864-4702-2 7254:978-0-7864-4781-7 7226:978-1-59420-376-3 7156:978-0-7864-7762-3 7142:978-1-4529-3939-1 7114:978-1-4766-7568-8 7072:978-0-7864-3581-4 7054:978-0-7864-7685-5 6970:978-0-7864-4363-5 6956:978-0-7864-4693-3 6914:978-0-520-27178-4 6900:978-0-595-35949-3 6886:978-0-68480-492-7 6805:978-0-7864-7643-5 6791:978-0-7864-9683-9 6777:978-0-7864-7725-8 6763:978-0-8108-7677-4 6693:978-1-4766-8027-9 6600:978-1-4766-7617-3 6558:978-0-7864-4788-6 6544:978-0-06-177889-6 6530:978-1-880756-05-8 6488:978-0-520-25619-4 6460:978-0-7864-4572-1 6446:978-1-84353-408-2 6432:978-1-59393-605-1 6196:Exhibitors Herald 6161:"Freckles (1928)" 5920:The Butterfly Man 5658:. pp. 144–45 5525:Exhibitors Herald 5446:Exhibitors Herald 5427:Exhibitors Herald 5373:Exhibitors Herald 5355:Exhibitors Herald 5163:Exhibitors Herald 5109:Exhibitors Herald 4978:"Blockade (1928)" 4765:Exhibitors Herald 4625:Exhibitors Herald 4219:The Bandit's Baby 4178:The Mask of Lopez 4040:. pp. 145–46 4015:Exhibitors Herald 3997:Exhibitors Herald 3979:Exhibitors Herald 3919:. pp. 145–46 3802:Exhibitors Herald 3750:Exhibitors Herald 3656:The Perfect Crime 3652:Exhibitors Herald 3640:The Perfect Crime 3555:Exhibitors Herald 3410:Exhibitors Herald 3373:Exhibitors Herald 3068:Exhibitors Herald 2911:Exhibitors Herald 2463:); as AFI notes, 2455:Bessie Barriscale 2434:Exhibitors Herald 2422:Exhibitors Herald 2342:Exhibitors Herald 2311:Exhibitors Herald 2285:Exhibitors Herald 1950:Amedee Van Beuren 1892:Malcolm St. Clair 1768:Silk Stocking Sal 1651:Nicholas Musuraca 1645:. One of its two 1576:Roy William Neill 1499:starred in FBO's 1358:Exhibitors Herald 1287:Rudolph Valentino 1258:Dorothy Davenport 1183:films, including 1150:Exhibitors Herald 1130:Douglas Fairbanks 1094:A Slave of Vanity 1079:Pauline Frederick 1063:in March 1919 to 891:The Perfect Crime 852:The Perfect Crime 843:Exhibitors Herald 734:Exhibitors Herald 601:The Bandit's Baby 575:Exhibitors Herald 450:Pauline Frederick 428:Joseph P. Kennedy 377:Carlyle Blackwell 307:Bell & Howell 305:accessories, and 295:Pauline Frederick 189:Pauline Frederick 166:Joseph P. Kennedy 148:), registered as 139: 138: 16:(Redirected from 7596: 6410: 6409: 6407: 6405: 6399:Cartoon Research 6389: 6383: 6382: 6380: 6378: 6372:Cartoon Research 6362: 6356: 6353:Heritage Vintage 6349: 6343: 6342: 6340: 6338: 6322: 6316: 6313: 6307: 6304: 6298: 6296: 6294: 6292: 6277: 6271: 6270: 6268: 6266: 6250: 6244: 6241: 6235: 6232: 6226: 6223: 6217: 6214: 6208: 6207: 6205: 6203: 6176: 6174: 6172: 6158: 6156: 6154: 6140: 6138: 6136: 6120: 6114: 6111: 6105: 6104: 6102: 6100: 6084: 6078: 6077: 6075: 6073: 6059: 6057: 6055: 6039: 6033: 6030: 6024: 6022: 6020: 6018: 6004: 6002: 6000: 5984: 5978: 5977: 5975: 5973: 5958: 5952: 5950: 5948: 5946: 5930: 5924: 5910: 5908: 5906: 5892: 5890: 5888: 5872: 5866: 5863: 5857: 5854: 5848: 5845: 5839: 5836: 5830: 5827: 5821: 5818: 5809: 5806: 5800: 5797: 5791: 5788: 5782: 5779: 5773: 5770: 5764: 5761: 5755: 5751:Tom and His Pals 5746:Heritage Vintage 5742:Heritage Vintage 5738: 5732: 5728: 5722: 5719: 5713: 5710: 5704: 5701: 5695: 5692: 5686: 5683: 5677: 5674: 5668: 5667: 5665: 5663: 5643: 5637: 5635: 5633: 5631: 5615: 5609: 5608: 5606: 5604: 5588: 5582: 5580: 5578: 5576: 5562: 5560: 5558: 5543: 5537: 5536: 5534: 5532: 5517: 5506: 5503: 5497: 5496: 5494: 5492: 5477: 5471: 5464: 5458: 5457: 5455: 5453: 5438: 5436: 5434: 5418: 5412: 5409: 5403: 5400: 5394: 5391: 5385: 5384: 5382: 5380: 5366: 5364: 5362: 5346: 5340: 5339: 5337: 5335: 5321: 5319: 5317: 5303: 5301: 5299: 5285: 5283: 5281: 5267: 5265: 5263: 5243:Tom and His Pals 5231: 5225: 5222: 5216: 5215:(2004b), p. 121. 5213:Heritage Vintage 5210: 5208: 5206: 5190: 5184: 5181: 5175: 5174: 5172: 5170: 5154: 5148: 5147: 5145: 5143: 5127: 5121: 5120: 5118: 5116: 5100: 5094: 5091: 5085: 5082: 5076: 5073: 5067: 5066: 5064: 5062: 5046: 5040: 5037: 5031: 5030: 5028: 5026: 5012: 5010: 5008: 4993: 4991: 4989: 4975: 4973: 4971: 4955: 4949: 4946: 4940: 4937: 4931: 4930: 4928: 4926: 4912: 4910: 4908: 4894: 4892: 4890: 4876: 4874: 4872: 4858: 4856: 4854: 4840: 4838: 4836: 4822: 4820: 4818: 4804: 4802: 4800: 4784: 4778: 4776: 4774: 4772: 4758: 4756: 4754: 4739: 4737: 4735: 4721: 4715: 4714: 4712: 4710: 4695: 4693: 4691: 4674:The College Boob 4651: 4645: 4636: 4634: 4632: 4617: 4611: 4608: 4602: 4601: 4599: 4597: 4582: 4576: 4575: 4573: 4571: 4544: 4538: 4537: 4535: 4533: 4516: 4510: 4509: 4507: 4505: 4491: 4489: 4487: 4472: 4470: 4468: 4453: 4451: 4449: 4433: 4427: 4424: 4418: 4415: 4409: 4406: 4400: 4399: 4397: 4395: 4376: 4369: 4348: 4342: 4341: 4339: 4337:10.4000/map.2385 4310: 4304: 4303: 4301: 4299: 4285: 4283: 4281: 4265: 4259: 4256: 4250: 4245: 4243: 4241: 4173: 4167: 4164: 4158: 4155: 4149: 4148: 4146: 4144: 4130: 4128: 4126: 4109: 4103: 4102: 4100: 4098: 4093:. pp. 42–47 4082: 4076: 4075: 4073: 4071: 4065: 4056: 4050: 4049: 4047: 4045: 4026: 4024: 4022: 4008: 4006: 4004: 3990: 3988: 3986: 3970: 3964: 3963: 3961: 3959: 3944: 3938: 3935: 3929: 3928: 3926: 3924: 3904: 3898: 3895: 3889: 3886: 3880: 3877: 3871: 3868: 3862: 3859: 3853: 3849: 3843: 3842: 3813: 3811: 3809: 3794: 3788: 3787: 3785: 3783: 3778:. August 6, 1928 3768: 3762: 3761: 3759: 3757: 3741: 3735: 3734: 3732: 3730: 3719:"Rivoli Theatre" 3715: 3713: 3711: 3695: 3693: 3691: 3676: 3674: 3672: 3636: 3630: 3628: 3626: 3624: 3609: 3603: 3602: 3600: 3598: 3582: 3576: 3573: 3567: 3566: 3564: 3562: 3546: 3540: 3537: 3531: 3528: 3522: 3519: 3513: 3510: 3504: 3503: 3501: 3499: 3484: 3478: 3475: 3469: 3466: 3460: 3459: 3457: 3455: 3440: 3438: 3436: 3421: 3419: 3417: 3402: 3400: 3398: 3384: 3382: 3380: 3365: 3359: 3356: 3350: 3347: 3341: 3338: 3332: 3329: 3323: 3320: 3314: 3311: 3305: 3302: 3296: 3294: 3292: 3290: 3274: 3268: 3265: 3259: 3256: 3250: 3247: 3241: 3238: 3232: 3229: 3223: 3220: 3214: 3213: 3211: 3209: 3195: 3193: 3191: 3175: 3169: 3168: 3166: 3164: 3150: 3148: 3146: 3131: 3125: 3124: 3122: 3120: 3114: 3105: 3099: 3096: 3090: 3087: 3081: 3079: 3077: 3075: 3060: 3054: 3050: 3044: 3043: 3041: 3039: 3028: 3022: 3008: 3002: 2987: 2981: 2978: 2972: 2971: 2969: 2967: 2956: 2950: 2947: 2941: 2938: 2932: 2929: 2923: 2922: 2920: 2918: 2904: 2902: 2900: 2883: 2877: 2874: 2868: 2865: 2859: 2858: 2856: 2854: 2838: 2832: 2831: 2829: 2827: 2811: 2809: 2807: 2793: 2791: 2789: 2775: 2773: 2771: 2756: 2754: 2752: 2737: 2731: 2726: 2724: 2722: 2709: 2703: 2700: 2694: 2691: 2685: 2684: 2682: 2680: 2666: 2664: 2662: 2646: 2640: 2637: 2631: 2628: 2622: 2621: 2619: 2617: 2601: 2595: 2592: 2586: 2585: 2583: 2581: 2566: 2560: 2542: 2540: 2538: 2520: 2514: 2513: 2511: 2509: 2493: 2491: 2489: 2445: 2443: 2441: 2407: 2405: 2403: 2389: 2387: 2385: 2371: 2369: 2367: 2353: 2351: 2349: 2330: 2324: 2322: 2320: 2318: 2303: 2297: 2296: 2294: 2292: 2277: 2271: 2268: 2262: 2261: 2259: 2257: 2242: 2236: 2233: 2227: 2219: 2217: 2215:10.4000/map.2385 2192: 2186: 2185: 2183: 2181: 2171: 2163: 2154: 2153: 2151: 2149: 2135: 2133: 2131: 2115: 2109: 2106: 2100: 2097: 2091: 2088: 2082: 2079: 2042:Margaret Winkler 1923:Madame Sans-Gêne 1857:costume designer 1853:Pandro S. Berman 1830:James Leo Meehan 1815:The Magic Garden 1716:The Call of Home 1699:Louis J. Gasnier 1679:Laurel and Hardy 1666:American Manners 1661:Richard Talmadge 1647:cinematographers 1582:picture. Author 1451:Argentine Pampas 1372:Warners' Theatre 1120:Richard Talmadge 1083:Goldwyn Pictures 1010:Thundering Hoofs 970:Cinematic legacy 819:Cecil B. DeMille 791:General Electric 646:Union Stockyards 613:Thundering Hoofs 458:Goldwyn Pictures 421:Louis J. Gasnier 373:Charles Swickard 341:Supreme Comedies 280:Business history 201:Richard Talmadge 104: 102: 89: 87: 82: 42: 35: 31: 21: 7604: 7603: 7599: 7598: 7597: 7595: 7594: 7593: 7569:History of film 7494: 7493: 7486:The Two-Gun Man 7463: 7458: 6418: 6413: 6403: 6401: 6390: 6386: 6376: 6374: 6363: 6359: 6355:(2004b), p. 51. 6350: 6346: 6336: 6334: 6323: 6319: 6314: 6310: 6305: 6301: 6290: 6288: 6279: 6278: 6274: 6264: 6262: 6253: 6251: 6247: 6242: 6238: 6233: 6229: 6224: 6220: 6215: 6211: 6201: 6199: 6190: 6185:, FBO promoted 6170: 6168: 6159: 6152: 6150: 6141: 6134: 6132: 6121: 6117: 6112: 6108: 6098: 6096: 6087: 6085: 6081: 6071: 6069: 6060: 6053: 6051: 6042: 6040: 6036: 6031: 6027: 6016: 6014: 6005: 5998: 5996: 5987: 5985: 5981: 5971: 5969: 5959: 5955: 5944: 5942: 5933: 5931: 5927: 5904: 5902: 5893: 5886: 5884: 5875: 5873: 5869: 5864: 5860: 5855: 5851: 5846: 5842: 5837: 5833: 5828: 5824: 5819: 5812: 5807: 5803: 5798: 5794: 5789: 5785: 5780: 5776: 5771: 5767: 5762: 5758: 5739: 5735: 5729: 5725: 5720: 5716: 5711: 5707: 5702: 5698: 5693: 5689: 5684: 5680: 5675: 5671: 5661: 5659: 5644: 5640: 5629: 5627: 5618: 5616: 5612: 5602: 5600: 5591: 5589: 5585: 5574: 5572: 5563: 5556: 5554: 5545: 5544: 5540: 5530: 5528: 5519: 5518: 5509: 5504: 5500: 5490: 5488: 5479: 5478: 5474: 5465: 5461: 5451: 5449: 5440: 5432: 5430: 5421: 5419: 5415: 5410: 5406: 5401: 5397: 5392: 5388: 5378: 5376: 5367: 5360: 5358: 5349: 5347: 5343: 5333: 5331: 5322: 5315: 5313: 5304: 5297: 5295: 5286: 5279: 5277: 5268: 5261: 5259: 5250: 5247:Terror Mountain 5232: 5228: 5223: 5219: 5204: 5202: 5191: 5187: 5182: 5178: 5168: 5166: 5157: 5155: 5151: 5141: 5139: 5130: 5128: 5124: 5114: 5112: 5103: 5101: 5097: 5092: 5088: 5083: 5079: 5074: 5070: 5060: 5058: 5049: 5047: 5043: 5038: 5034: 5024: 5022: 5013: 5006: 5004: 4995: 4987: 4985: 4976: 4969: 4967: 4958: 4956: 4952: 4947: 4943: 4938: 4934: 4924: 4922: 4913: 4906: 4904: 4895: 4888: 4886: 4877: 4870: 4868: 4859: 4852: 4850: 4841: 4834: 4832: 4823: 4816: 4814: 4805: 4798: 4796: 4787: 4785: 4781: 4770: 4768: 4759: 4752: 4750: 4741: 4733: 4731: 4723: 4722: 4718: 4708: 4706: 4689: 4687: 4678: 4671:(1925) through 4652: 4648: 4630: 4628: 4619: 4618: 4614: 4609: 4605: 4595: 4593: 4584: 4583: 4579: 4569: 4567: 4558: 4551:(1924) through 4545: 4541: 4531: 4529: 4517: 4513: 4503: 4501: 4492: 4485: 4483: 4466: 4464: 4447: 4445: 4436: 4434: 4430: 4425: 4421: 4416: 4412: 4407: 4403: 4393: 4391: 4382: 4379:The Woman Breed 4370: 4356:The Woman Breed 4352:The Woman Breed 4349: 4345: 4311: 4307: 4297: 4295: 4286: 4279: 4277: 4268: 4266: 4262: 4257: 4253: 4239: 4237: 4228: 4202:The Two-Gun Man 4190:Ridin' the Wind 4184:North of Nevada 4174: 4170: 4165: 4161: 4156: 4152: 4142: 4140: 4131: 4124: 4122: 4113:Pierce, David. 4110: 4106: 4096: 4094: 4083: 4079: 4069: 4067: 4063: 4057: 4053: 4043: 4041: 4020: 4018: 4009: 4002: 4000: 3991: 3984: 3982: 3973: 3971: 3967: 3957: 3955: 3946: 3945: 3941: 3936: 3932: 3922: 3920: 3905: 3901: 3896: 3892: 3887: 3883: 3878: 3874: 3869: 3865: 3860: 3856: 3850: 3846: 3831:10.2307/3051829 3807: 3805: 3796: 3795: 3791: 3781: 3779: 3770: 3769: 3765: 3755: 3753: 3744: 3742: 3738: 3728: 3726: 3717: 3709: 3707: 3698: 3689: 3687: 3678: 3670: 3668: 3659: 3637: 3633: 3622: 3620: 3611: 3610: 3606: 3596: 3594: 3585: 3583: 3579: 3574: 3570: 3560: 3558: 3549: 3547: 3543: 3538: 3534: 3529: 3525: 3520: 3516: 3511: 3507: 3497: 3495: 3486: 3485: 3481: 3476: 3472: 3467: 3463: 3453: 3451: 3434: 3432: 3415: 3413: 3396: 3394: 3385: 3378: 3376: 3367: 3366: 3362: 3357: 3353: 3348: 3344: 3339: 3335: 3330: 3326: 3321: 3317: 3312: 3308: 3303: 3299: 3288: 3286: 3275: 3271: 3266: 3262: 3257: 3253: 3248: 3244: 3239: 3235: 3230: 3226: 3221: 3217: 3207: 3205: 3196: 3189: 3187: 3178: 3176: 3172: 3162: 3160: 3151: 3144: 3142: 3133: 3132: 3128: 3118: 3116: 3112: 3106: 3102: 3097: 3093: 3088: 3084: 3073: 3071: 3062: 3061: 3057: 3051: 3047: 3037: 3035: 3020: 3012:McCusker, J. J. 3000: 2992:McCusker, J. J. 2988: 2984: 2979: 2975: 2965: 2963: 2958: 2957: 2953: 2948: 2944: 2939: 2935: 2930: 2926: 2916: 2914: 2905: 2898: 2896: 2884: 2880: 2875: 2871: 2866: 2862: 2852: 2850: 2847:Concord Monitor 2841: 2839: 2835: 2825: 2823: 2814: 2805: 2803: 2794: 2787: 2785: 2776: 2769: 2767: 2750: 2748: 2740: 2738: 2734: 2728: 2720: 2718: 2713: 2710: 2706: 2701: 2697: 2692: 2688: 2678: 2676: 2667: 2660: 2658: 2649: 2647: 2643: 2638: 2634: 2629: 2625: 2615: 2613: 2606:"Kismet (1920)" 2604: 2602: 2598: 2593: 2589: 2579: 2577: 2568: 2567: 2563: 2536: 2534: 2521: 2517: 2507: 2505: 2487: 2485: 2476: 2446: 2439: 2437: 2428: 2418:The Third Woman 2414:The Third Woman 2401: 2399: 2390: 2383: 2381: 2372: 2365: 2363: 2354: 2347: 2345: 2336:The Third Woman 2332: 2331: 2327: 2316: 2314: 2305: 2304: 2300: 2290: 2288: 2279: 2278: 2274: 2269: 2265: 2255: 2253: 2244: 2243: 2239: 2234: 2230: 2193: 2189: 2179: 2177: 2169: 2165: 2164: 2157: 2147: 2145: 2136: 2129: 2127: 2118: 2116: 2112: 2107: 2103: 2098: 2094: 2089: 2085: 2080: 2076: 2072: 2032:George Herriman 1992:West of Hot Dog 1932:Fighting Hearts 1868: 1860:Walter Plunkett 1839:Ridin' the Wind 1613:The Slave Queen 1540: 1534: 1380:first-run house 1367:The Two-Gun Man 1327: 1315:Suzanne Lenglen 1313:. Tennis stars 1291:Natacha Rambova 1240:Forbidden Cargo 1209:Anna Q. Nilsson 1177:character actor 1145:Tearing Through 1139:Stepping Lively 1060:A Heart in Pawn 1055:Sessue Hayakawa 1040: 1027:A Regular Scout 972: 920:William LeBaron 886:The Jazz Singer 771: 671:censor in chief 629: 466: 432:John F. Kennedy 369:The Third Woman 317:Sessue Hayakawa 299:Sessue Hayakawa 287: 282: 272:of Hollywood's 193:Sessue Hayakawa 134: 100: 98: 85: 83: 80: 63:Motion pictures 45: 28: 23: 22: 15: 12: 11: 5: 7602: 7592: 7591: 7586: 7581: 7576: 7571: 7566: 7561: 7556: 7551: 7546: 7541: 7536: 7531: 7526: 7521: 7516: 7511: 7506: 7492: 7491: 7482: 7476: 7470: 7462: 7461:External links 7459: 7457: 7456: 7449: 7435: 7421: 7407: 7393: 7379: 7365: 7351: 7337: 7330: 7316: 7298: 7284: 7282:978-0810818040 7270: 7268:978-0878339341 7256: 7242: 7228: 7214: 7200: 7186: 7184:978-0822339588 7172: 7158: 7144: 7130: 7116: 7102: 7100:978-1501748189 7088: 7074: 7056: 7042: 7028: 7014: 7000: 6986: 6972: 6958: 6944: 6942:978-0899504940 6930: 6916: 6902: 6888: 6874: 6861: 6848: 6835: 6821: 6819:978-0813589428 6807: 6793: 6779: 6765: 6751: 6737: 6723: 6709: 6695: 6681: 6672: 6658: 6644: 6630: 6616: 6614:978-0913204368 6602: 6588: 6574: 6560: 6546: 6532: 6518: 6516:978-1400040001 6504: 6490: 6476: 6462: 6448: 6434: 6419: 6417: 6414: 6412: 6411: 6384: 6357: 6344: 6317: 6308: 6299: 6272: 6245: 6236: 6227: 6218: 6209: 6115: 6106: 6079: 6034: 6025: 5979: 5967:New York Times 5953: 5925: 5867: 5858: 5849: 5840: 5831: 5822: 5810: 5801: 5792: 5783: 5774: 5765: 5756: 5733: 5723: 5714: 5705: 5696: 5687: 5678: 5669: 5638: 5610: 5583: 5538: 5507: 5498: 5472: 5459: 5413: 5404: 5395: 5386: 5341: 5239:The Cowboy Cop 5226: 5217: 5200:New York Times 5185: 5176: 5149: 5122: 5095: 5086: 5077: 5068: 5041: 5032: 4950: 4941: 4932: 4779: 4716: 4656:The No-Gun Man 4646: 4612: 4603: 4577: 4554:The Better Man 4539: 4511: 4428: 4419: 4410: 4401: 4368:. p. 823. 4360:Film Year Book 4343: 4305: 4260: 4251: 4214:Arizona Nights 4168: 4159: 4150: 4104: 4077: 4051: 3965: 3939: 3930: 3899: 3890: 3881: 3872: 3863: 3854: 3844: 3819:American Music 3789: 3776:New York Times 3763: 3736: 3631: 3604: 3577: 3568: 3541: 3532: 3523: 3514: 3505: 3479: 3470: 3461: 3360: 3351: 3342: 3333: 3324: 3315: 3306: 3297: 3269: 3260: 3251: 3242: 3233: 3224: 3215: 3170: 3126: 3100: 3091: 3082: 3055: 3045: 3029:1800–present: 2982: 2973: 2951: 2942: 2933: 2924: 2893:Motion Picture 2878: 2869: 2860: 2833: 2732: 2704: 2695: 2686: 2641: 2632: 2623: 2596: 2587: 2561: 2515: 2410:The Wonder Man 2398:. May 30, 1920 2396:New York Times 2325: 2298: 2272: 2263: 2237: 2228: 2187: 2176:. January 1920 2155: 2110: 2101: 2092: 2083: 2073: 2071: 2068: 2055:Alice Comedies 2007:Charles Bowers 1941:Mickey McGuire 1918:Madam Sans Gin 1904:The Pacemakers 1896:The Go-Getters 1888:Alberta Vaughn 1874:Ad for a 1926 1867: 1864: 1773:William Seiter 1735:New York Times 1725:Thomas H. Ince 1695:Florence Vidor 1671:James W. Horne 1633:Michael Curtiz 1617:Moon of Israel 1533: 1530: 1431:Born to Battle 1393:Frances Marion 1326: 1323: 1263:Human Wreckage 1246:Lady Robinhood 1181:D. W. Griffith 1125:Midnight Molly 1039: 1036: 1030:(1926) at the 971: 968: 954:, directed by 929:Moon of Israel 900:New York Times 839:Joseph Kennedy 828:RCA Photophone 807:Pathé Exchange 781:The advent of 770: 767: 758:United Artists 690:Cari Beauchamp 628: 625: 541:Alberta Vaughn 533:Love and Learn 519:Alberta Vaughn 511:Fighting Blood 499:Frances Marion 465: 464:A new identity 462: 444:, directed by 391:John G. Adolfi 389:, directed by 386:The Wonder Man 357:Martin Johnson 286: 283: 281: 278: 242:RCA Photophone 217:William Seiter 209:Alberta Vaughn 158:Robertson-Cole 137: 136: 131: 127: 126: 121: 117: 116: 110: 106: 105: 95: 91: 90: 77: 73: 72: 69: 65: 64: 61: 57: 56: 51: 47: 46: 44:Logo from 1926 43: 26: 9: 6: 4: 3: 2: 7601: 7590: 7587: 7585: 7582: 7580: 7577: 7575: 7572: 7570: 7567: 7565: 7562: 7560: 7557: 7555: 7552: 7550: 7547: 7545: 7542: 7540: 7537: 7535: 7532: 7530: 7527: 7525: 7522: 7520: 7517: 7515: 7512: 7510: 7507: 7505: 7502: 7501: 7499: 7489: 7487: 7483: 7480: 7477: 7474: 7471: 7468: 7465: 7464: 7454: 7450: 7448: 7444: 7440: 7436: 7434: 7430: 7426: 7422: 7420: 7416: 7412: 7408: 7406: 7402: 7398: 7394: 7392: 7388: 7384: 7380: 7378: 7374: 7370: 7366: 7364: 7360: 7356: 7352: 7350: 7346: 7342: 7338: 7335: 7331: 7329: 7328:0-8223-2374-5 7325: 7321: 7317: 7315: 7314:1-893121-05-4 7311: 7307: 7303: 7299: 7297: 7293: 7289: 7285: 7283: 7279: 7275: 7271: 7269: 7265: 7261: 7257: 7255: 7251: 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Features 322: 318: 313: 308: 300: 296: 291: 285:The R-C years 277: 275: 271: 270:major studios 268:, one of the 267: 263: 259: 258:David Sarnoff 255: 251: 247: 243: 239: 235: 234: 228: 226: 222: 221:Emory Johnson 218: 214: 210: 206: 202: 198: 194: 190: 186: 181: 179: 175: 171: 167: 163: 159: 155: 151: 147: 143: 132: 128: 125: 122: 118: 115: 111: 107: 96: 92: 78: 74: 70: 66: 62: 58: 55: 52: 48: 41: 36: 30: 19: 7485: 7452: 7438: 7424: 7410: 7396: 7382: 7368: 7354: 7340: 7333: 7319: 7305: 7301: 7287: 7273: 7259: 7245: 7231: 7217: 7203: 7189: 7175: 7161: 7147: 7133: 7119: 7105: 7091: 7077: 7063: 7059: 7045: 7031: 7017: 7003: 6989: 6975: 6961: 6947: 6933: 6919: 6905: 6891: 6877: 6863: 6850: 6837: 6824: 6810: 6796: 6782: 6768: 6754: 6740: 6726: 6712: 6698: 6684: 6675: 6661: 6647: 6633: 6619: 6605: 6591: 6577: 6563: 6549: 6535: 6521: 6507: 6493: 6479: 6465: 6451: 6437: 6423: 6402:. Retrieved 6398: 6387: 6375:. Retrieved 6371: 6360: 6352: 6347: 6335:. Retrieved 6331: 6320: 6311: 6302: 6289:. 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Brown 1190: 1184: 1161:Harry Garson 1154: 1149: 1143: 1137: 1134:Harold Lloyd 1123: 1116:Evelyn Brent 1113: 1104:Better Times 1102: 1092: 1086: 1085:tear-jerker 1074: 1064: 1058: 1053: 1048:Evelyn Brent 1025: 1019: 1013: 1009: 1007: 987: 979: 949: 939: 933: 927: 923: 913: 905: 898: 890: 884: 881:Warner Bros. 873:Bert Glennon 865:movie palace 850: 848: 842: 795:Westinghouse 780: 750: 743: 737: 733: 707: 702:Fred Thomson 682: 638: 618: 611: 605: 599: 589: 579: 573: 557:Evelyn Brent 554: 536: 532: 510: 503:Fred Thomson 475: 439: 425: 414: 407:Santa Monica 384: 368: 361: 352: 340: 303: 231: 229: 197:Evelyn Brent 182: 174:Fred Thomson 172:leading man 157: 149: 145: 141: 140: 130:Headquarters 124:RKO Pictures 50:Company type 29: 18:FBO Pictures 6404:November 5, 6377:November 5, 6337:October 24, 6332:DVD Journal 6291:October 30, 6265:October 29, 6202:October 26, 6171:October 26, 6165:AFI Catalog 6153:October 26, 6147:AFI Catalog 6135:October 26, 6099:November 5, 6072:November 5, 6054:November 5, 6017:November 5, 5999:November 5, 5972:October 29, 5945:November 5, 5917:(1919) and 5905:October 26, 5899:AFI Catalog 5887:October 26, 5881:AFI Catalog 5662:October 29, 5531:October 27, 5491:November 5, 5452:October 28, 5433:October 27, 5379:October 28, 5361:October 27, 5334:October 28, 5328:AFI Catalog 5316:October 28, 5310:AFI Catalog 5298:October 28, 5292:AFI Catalog 5280:October 28, 5274:AFI Catalog 5262:October 28, 5256:AFI Catalog 5205:October 29, 5169:October 31, 5142:October 29, 5115:November 4, 5025:November 4, 5019:AFI Catalog 5007:November 4, 5001:AFI Catalog 4994:Fairbanks: 4988:November 4, 4982:AFI Catalog 4970:November 4, 4964:AFI Catalog 4925:November 4, 4919:AFI Catalog 4907:November 4, 4901:AFI Catalog 4889:November 4, 4883:AFI Catalog 4871:November 4, 4865:AFI Catalog 4853:November 4, 4847:AFI Catalog 4835:November 4, 4829:AFI Catalog 4817:November 4, 4811:AFI Catalog 4799:November 4, 4793:AFI Catalog 4771:November 1, 4753:November 1, 4734:November 1, 4709:October 29, 4690:November 1, 4684:AFI Catalog 4631:October 28, 4596:November 1, 4590:AFI Catalog 4570:November 1, 4564:AFI Catalog 4532:November 1, 4504:October 29, 4486:November 1, 4467:November 2, 4448:November 1, 4394:November 3, 4298:October 28, 4292:AFI Catalog 4280:October 28, 4274:AFI Catalog 4240:November 2, 4143:November 2, 4137:AFI Catalog 4125:November 2, 4097:October 26, 4070:November 2, 4044:October 29, 4021:October 29, 4003:November 1, 3985:November 1, 3958:October 26, 3952:AFI Catalog 3923:October 29, 3808:October 28, 3782:October 26, 3756:October 28, 3729:October 26, 3710:October 28, 3690:October 28, 3671:October 28, 3597:October 29, 3561:October 29, 3498:November 5, 3454:November 1, 3435:November 1, 3416:November 1, 3397:October 29, 3391:AFI Catalog 3379:November 1, 3208:November 4, 3190:November 4, 3163:October 29, 3145:October 29, 3119:November 2, 3074:November 1, 3009:1700–1799: 2989:1634–1699: 2966:October 29, 2917:November 4, 2899:November 3, 2853:November 4, 2826:November 5, 2806:October 29, 2788:October 29, 2770:October 29, 2751:November 1, 2721:October 29, 2679:November 5, 2661:October 27, 2655:AFI Catalog 2616:October 27, 2610:AFI Catalog 2580:November 3, 2537:October 26, 2508:October 28, 2488:October 27, 2482:AFI Catalog 2440:October 31, 2425:cover dated 2402:October 26, 2384:October 27, 2378:AFI Catalog 2366:October 27, 2360:AFI Catalog 2348:October 27, 2317:October 27, 2291:October 27, 2256:November 3, 2180:January 25, 2148:October 27, 2142:AFI Catalog 2130:October 27, 2124:AFI Catalog 2064:Walt Disney 1999:'s classic 1983:Stan Laurel 1979:two-reelers 1958:Curiosities 1842:(1925) and 1824:(1927) and 1625:(1938) and 1571:Broken Laws 1526:Rin-Tin-Tin 1503:adaptation 1501:Jack London 1497:Strongheart 1493:Buzz Barton 1481:Harry Carey 1436:Jean Arthur 1426:Sharon Lynn 1385:tax shelter 1319:Mary Browne 1279:Broken Laws 1192:Intolerance 1173:Ralph Lewis 1142:(1924) and 1024:(1924) and 960:Buzz Barton 946:programmers 941:Syncopation 857:Clive Brook 855:, starring 718:Main Street 591:Broken Laws 570:Silver King 549:serial film 523:two-reelers 312:Mutual Film 178:Hollywood's 162:Los Angeles 68:Predecessor 7498:Categories 7302:White Fang 6179:Daily News 3825:(4): 434. 2551:, and now 2334:"Reviews: 1721:Ralph Ince 1713:(1921) to 1710:Good Women 1687:King Vidor 1628:Casablanca 1599:Film Daily 1521:Daily News 1506:White Fang 1489:Bob Steele 1485:Bob Custer 1464:Lon Chaney 1418:Doris Hill 1342:(1925) to 1223:Viola Dana 1099:ZaSu Pitts 990:lost films 964:Frank Rice 956:Louis King 861:Irene Rich 783:sound film 479:Pat Powers 446:Henry King 345:Harry Depp 335:and other 274:Golden Age 256:executive 213:Ralph Ince 154:silent era 5646:Staff of 5211:See also 4330:(9). 39. 4028:Staff of 3907:Staff of 3644:Vitaphone 3283:Photoplay 2553:Paramount 2223:The Cheat 2208:(9). 39. 2060:Ub Iwerks 2050:Krazy Kat 2037:Krazy Kat 2030:based on 1971:slapstick 1952:provided 1592:with Mr. 1549:in FBO's 1519:New York 1428:, and in 1422:Nora Lane 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