#lule warrenton

[marypickfords]

When Little Lindy Sang (Lule Warrenton, 1916)

#ernestine jones #when little lindy sang #lule warrenton #silent film #short film #caps

[moviemosaics]

Suspense

directed by Lois Weber and Phillips Smalley, 1913

#Suspense #Lois Weber #Phillips Smalley #movie mosaics #Valentine Paul #Sam Kaufman #Douglas Gerrard #Lule Warrenton

[tcm]

Crusading Cinema: Socially Conscious Female Directors By Kim Luperi

As TCM’s groundbreaking series has Women in Film illustrated, it wasn't only men who blazed the cinematic trail. The few female filmmakers in early Hollywood with the power to tell stories important to them used the medium to illuminate social issues. Here’s a look at three women who raised awareness – and sometimes hell – with their “social problem” films.

Lois Weber

Even when on vacation, Lois Weber was “planning problem pictures by which she hopes to lend her mite [sic] towards the education and uplift of humanity,” The Billboard conveyed. She sure delivered. Weber’s 1915 feature HYPOCRITES, in which a nude woman represents “The Naked Truth” to expose modern society’s hypocrisy, incurred the censors’ wrath – and made Weber a household name. The film’s box-office success secured Weber and her bold moral voice creative control over future films, and she embarked on a series of “preachment” pictures addressing divisive subjects, like sexual harassment (1915’s SUNSHINE MOLLY), capital punishment (1916’s THE PEOPLE VS. JOHN DOE), poverty and working women (1916’s Shoes) and abortion and birth control (1916’s WHERE ARE MY CHILDREN? and 1917’s THE HAND THAT ROCKS THE CRADLE). Her pictures performed so well that Weber commanded the highest annual salary of any director, male or female, in 1917.

Produced at the height of Margaret Sanger’s birth control crusade, WHERE ARE MY CHILDREN? proved contentious but successful; a Pennsylvania censor called it “unspeakably vile,” yet it ranked as Universal’s biggest moneymaker of 1916. A committee from the National Board of Review, unsure if they should allow it to screen, polled prominent community members, and a majority supported the exhibition for adults only. Though the director should be commended for encouraging discussion of such a controversial topic, Weber biographer Shelley Stamp points out that the movie makes a classist, eugenics argument, mirroring the movement at that time. Ultimately, WHERE ARE MY CHILDREN? supports birth control – for working class women only, upper class women should still reproduce – but ultimately denounces abortion.

Ida May Park

Many of Ida May Park’s pictures, including the 14 she helmed at Universal from 1917-1920 and many of the 50 features she scripted, center on women who rise from poverty or other desolate beginnings to cinch a fairytale ending. As Jackie Perez observed in When Women Wrote Hollywood, most of Park’s films are lost, but existing documentation informs us that while romance and love reigned supreme in her movies, Park also explored socially minded issues like forced marriage, neglectful spouses and harassment.

Park’s only directorial effort to survive, in fragment only, is BREAD (’18). Frequently compared to Weber’s Shoes, another societal-minded feature starring Mary MacLaren, BREAD follows a woman navigating the big city on her own and trying to make her dreams come true as she contends with issues of poverty, power imbalance and the manipulation she faces from men.

Dorothy Davenport Reid

Following the tragic January 1923 death of husband Wallace Reid from complications related to morphine addiction (initially prescribed by studio doctors after an accident), actress Dorothy Davenport Reid established her own production company for the sole purpose of creating socially conscious pictures. After attending a conference on narcotics, Mrs. Wallace Reid began work – uncredited as director and writer – on HUMAN WRECKAGE (’23), a now-lost film that frankly depicted drug usage and addiction.

As Karen Ward Mahar wrote in Women Filmmakers in Early Hollywood, Mrs. Reid was a “showman.” With alarming scenes intended to shock audiences and Reid appearing onscreen entreating viewers to help in the fight against narcotics, HUMAN WRECKAGE emerged as one of the first exploitation pictures. The movie performed well, particularly because Reid made in-person appearances at theaters and curious fans flocked to see what she crafted in her husband’s memory. Reid followed it up with BROKEN LAWS (’24), which explored juvenile delinquency and parental authority, and THE RED KIMONO (’25), about a woman tricked into prostitution. While The New York Times dismissed the latter as “intended to cause weeping, wailing and gnashing of teeth,” poor reviews were the least of Reid’s worries. Journalist Adela Rogers St. Johns based the source material for THE RED KIMONO on an actual trial she covered, but in dramatizing the case, she failed to change the real woman’s name. Thus, Gabrielle Darley successfully sued Reid for violating her privacy, forcing her to shutter her production company, though Reid continued producing for Poverty Row studios through the late 1930s.

The Supreme Court's landmark 1915 Mutual Film Corporation ruling denied movies protection under the First Amendment, prompting censorship legislation in several states and ultimately encouraging the industry to approach cinema as entertainment. However, the work of these three women, as well as others who explored divisive topics like Lule Warrenton (racial prejudice in 1916’s WHEN LITTLE LINDY SANG) and Ida Lupino (rape in 1950’s OUTRAGE), laid the groundwork for future female filmmakers to challenge and change minds through cinema.

#Female directors #women make film #Ida Lupino #Dorothy Davenport Reid #Ida May Pak #Lois Weber #silent film #TCM #Turner Classic Movies #Kim Luperi

[lastchancevillagegreen]

When Little Lindy Sang (1916) d. Lule Warrenton

(short film: 10m 19s)

[adrian-paul-botta]

Early Women Directors is the only volume presenting information on the careers of the thirty or more women directors at work in the American film industry during the silent era. Here for the first time are reevaluations of the careers of major directors such as Lois Weber and Alice Guy Blache. The book also offers insights into the work of directors long since forgotten, including Elsie Jane Wilson, Lule Warrenton, Marion Fairfax, and Elizabeth Pickett, as well as scriptwriters turned director such as Frances Marion. Age was no obstacle then for women wishing to direct; they might be young girls like Margery Wilson or middle-aged housewives such as Lule Warrenton.

#press #lillian gish #film director #anthony slide #book #1977

[zazamatic]

A social realist, Weber brought a missionary zeal to cinema—making films about issues of the day. In Hypocrites(1914) a minister is stoned to death for unveiling a statue of The Naked Truth.  Variety said “After seeing it, you can’t forget the name of Lois Weber.” 

As well as hypocrisy, Weber’s films condemned child labor (Shoes, 1916); capital punishment (The People vs John Doe, 1916); and advocated birth control. Where Are My Children? (1916) was banned in Philadelphia and spawned censorship trials around the country.  Audiences flocked to the cinema in the wake of the publicity and the film grossed $3 million.  The Hand That Rocks the Cradle (1917) was a tribute to birth control pioneer Margaret Sanger. Moving Picture Stories hailed Weber as “the greatest woman director.”

“Weber made her name with a series of features on topical and highly contentious social issues, including poverty, addiction, religious bigotry, sexual assault, the campaign to abolish the death penalty, and the fight to legalize contraception.” 

By the mid-20s, audiences no longer wanted films about tough topics. The Angel of Broadway (1927), the story of an innocent prostitute, fared poorly at the box office. In 1934, Weber pushed the boundaries too far with White Heat, a film about miscegenation and racism on a sugar plantation in Hawaii. White Heat was attacked by critics and never distributed. It was her last film.

Weber was not the only female director at Universal—Ida May Park, Grace Cunard, Cleo Madison, Ruth Stonehouse, Elsie Jane Wilson, Ruth Ann Baldwin, and Lule Warrenton were also on the payroll—but she was the most famous. In fact, publicity ads in the mid-1910s positioned her as one of the industry’s three top directors, alongside D.W. Griffith and Cecil B. De Mille. Like many early filmmakers, she made almost every kind of movie: stories about drugs, prostitution, kidnapping, adultery, murder, romance, from the Western frontier to the waterfront. 

http://www.yourpieceofhistory.com/product/331/home-vintage-silent-film

http://www.nitrateville.com/viewtopic.php?f=3&t=11375

http://dailyglean.salebooks.com/2012/08/guest-blogger-linda-thornburg-on-women.html

https://www.filmcomment.com/blog/lois-weber-dumb-girl-portici/

http://www.wikiwand.com/en/Lois_Weber

#lois weber #director #woman director #hollywood #film history

[makeitquietly]

Robinson: How much acting did you do in your own pictures?

I did stuff like being in a crowd scene in a Laurel & Hardy film, and as an extra, things like standing on a yacht. I did occasional roles; I did a film with J. Warren Kerrigan, who was a big male star … I played a heavy in Rory o‘ the Bogs, where I aged from twenty to sixty—I never saw the picture until it screened in the theater, and when I did, I looked the same at sixty as I did at twenty, except I had painted lines on my face and talcum powder in my hair. That was the way you aged in those days.

Link to the transcript of “An Evening with Hal Roach (London, 1986)” in my previous post.

I don’t think there’s any photographic evidence of Hal in Rory o’ the Bogs (1913) but here he is, on the left, in Samson (1914) as one of the three wise men Philistines witnessing the miraculous birth of Jesus John Isaac Samson. The other two are Harold Lloyd and Frank Borzage. Lule Warrenton plays the elderly mother (hence the miracle) and George Periolat is Manoah, the proud papa.

Snide side note: Whoever were well-versed in this stuff must have been bored with the “old woman gives birth” miracle by the time they needed something for Jesus and so came up with a young virgin instead. Still, much less damage would’ve followed if they’d stuck with what they knew despite already having used the “old woman” yet again with John the Baptist’s mother Elizabeth. 😛

#Hal Roach #Harold Lloyd #Frank Borzage #Lule Warrenton #George Periolat #Samson #1914 #1910s #other

[classicfilmaz]

Gilbert Warrenton, A Centennial Look at the Captivating Cinematographer

Gilbert Warrenton, A Centennial Look at the Captivating Cinematographer

Motion Picture Studio Directory And Trade Annual 1918

  Gilbert Warrenton, noted cinematographer, who according to film-historian Kevin Brownlow (many others agree as well), was a principal exponent of the moving camera and the ‘German’ style in Hollywood. Warrenton was considered shoulder to shoulder with Karl Freund, until he arrived in California himself. Gilbert used revolutionary camera…

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#frieder film corporation #gilbert warrenton #lule warrenton #traingle

[marypickfords]

When Little Lindy Sang (Lule Warrenton, 1916)

#ernestine jones #when little lindy sang #lule warrenton #silent film #short film #caps #directed by women

[uoqaoa-blog]

Eleanor's Catch Downloads

Eleanor's Catch movie download

Actors:

Margaret Whistler Cleo Madison Ray Hanford Lule Warrenton William V. Mong Harry Mann Edward Hearn

Download Eleanor's Catch

Amazon.com: Hypocrites / Eleanor's Catch: Courteney Foote, Lois. Eleanor's Catch: Information from Answers.com Plot A typical one-reel melodrama of the mid-1910s, Eleanor's Catch features Cleo Madison as a tenement girl dallying with the neighborhood sharpie -- the well-named. The most important and prolific of all American women directors of the silent era, Lois Weber entered films in 1907 at Gaumont, working alongside Alice Guy-Blach. Hypocrites | Eleanor's Catch DVD - Kino Lorber DVD/Blu-ray Store Synopsis: Written, Produced & Directed by Lois Weber. Eleanor-s-Catch - Trailer - Cast - Showtimes - NYTimes.com An overview of Eleanor s Catch, including cast and credit details, a review summary, and more. Hypocrites | Eleanor's Catch - Kino on Video Synopsis: Written, Produced & Directed by Lois Weber. . Eleanor's Catch Episodes Online Watch 2010 FreeEleanor's Catch Episodes Online Movie on ionlinemovie.com! Want to know more plots about new Eleanor's Catch,hulu Eleanor's. . Eleanor's Catch - Watch Movie Online Watch Movies Online The most important and prolific of all American women directors of the silent era, Lois Weber entered films in 1907 at Gaumont, working alongside Alice Guy-Blach. The most important and prolific of. The most important and prolific of. Eleanor's Catch Synopsis - Plot Summary - Fandango.com A typical one-reel melodrama of the mid-1910s, Eleanor's Catch features Cleo Madison as a tenement girl dallying with the neighborhood sharpie -- the well-named. Mong: Flash' Darcy (Credits) / 'Flash Dacy Edward. HYPOCRITES. Actors: Cleo Madison: Eleanor McGrady Lule Warrenton: Eleanor's Mother William V. DIGITALLY MASTERED WITH A PIANO SCORE Plus Cleo Madisons ELEANORS CATCH. HYPOCRITES. DIGITALLY MASTERED WITH A PIANO SCORE Plus Cleo Madisons ELEANORS CATCH

#Eleanor's Catch #Margaret Whistler #Cleo Madison #Ray Hanford #Lule Warrenton #William V. Mong #Harry Mann #Edward Hearn

[mfanqn-blog]

How To Download Eleanor's Catch online

Eleanor's Catch movie download

Actors:

Edward Hearn Margaret Whistler Cleo Madison Lule Warrenton William V. Mong Ray Hanford Harry Mann

Download Eleanor's Catch

Eleanor's Catch (1916) - Overview - TCM.com Overview of Eleanor's Catch, 1916, directed by Cleo Madison, with Ray Hanford, Edward Hearn, Cleo Madison, at Turner Classic Movies Eleanor's Catch Online Watch 2010 Free,Eleanor's Catch Episodes. HYPOCRITES. The most important and prolific of. The most important and prolific of. Eleanor's Catch: Information from Answers.com Plot A typical one-reel melodrama of the mid-1910s, Eleanor's Catch features Cleo Madison as a tenement girl dallying with the neighborhood sharpie -- the well-named. DIGITALLY MASTERED WITH A PIANO SCORE Plus Cleo Madisons ELEANORS CATCH. Eleanor's Catch - Watch Movie Online Watch Movies Online The most important and prolific of all American women directors of the silent era, Lois Weber entered films in 1907 at Gaumont, working alongside Alice Guy-Blach. The most important and prolific of all American women directors of the silent era, Lois Weber entered films in 1907 at Gaumont, working alongside Alice Guy-Blach. . DIGITALLY MASTERED WITH A PIANO SCORE Plus Cleo Madisons ELEANORS CATCH. Amazon.com: Hypocrites / Eleanor's Catch: Courteney Foote, Lois. Eleanor's Catch Episodes Online Watch 2010 FreeEleanor's Catch Episodes Online Movie on ionlinemovie.com! Want to know more plots about new Eleanor's Catch,hulu Eleanor's. Hypocrites | Eleanor's Catch DVD - Kino Lorber DVD/Blu-ray Store Synopsis: Written, Produced & Directed by Lois Weber. Actors: Cleo Madison: Eleanor McGrady Lule Warrenton: Eleanor's Mother William V. Eleanor's Catch Synopsis - Plot Summary - Fandango.com A typical one-reel melodrama of the mid-1910s, Eleanor's Catch features Cleo Madison as a tenement girl dallying with the neighborhood sharpie -- the well-named. IMDb - Eleanor's Catch (1916) Director: Cleo Madison. HYPOCRITES.

online Bongwater

#Eleanor's Catch #Edward Hearn #Margaret Whistler #Cleo Madison #Lule Warrenton #William V. Mong #Ray Hanford #Harry Mann