A pictorial history of the movies (1943)

Record Details:

Title:
A pictorial history of the movies
Date:
1943
Publisher:
New York : Simon and Schuster
Volume:
A pictorial history of the movies
Leaf #:
000132
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

US THE TWENTIES The picture earned Metro a fortune and made June Mathis, Valentino, and Ingram famous. Ingram had studied sculpture at the Yale School of Fine Arts, acted a bit in Vitagraph and Edison pictures, served in the war, and directed a few minor pictures for Universal. The Four Horsemen offered free rein to his instinct for mood, pace, and pictorial effectiveness, with the result that he turned out a picture that still sets a standard. The scene above shows Alice Terry (who married Ingram in 1922) and Valentino, both in riding habits; Stuart Holmes, Alan Hale, and Joseph Swickard to the right of the star. The man behind Valentino, wearing a black beard, is Jean Hersholt. BELOW Metro was not slow to cash in on its new find. Within the year, Valentino was on the screen again in an adaptation of another best seller, The Sheik. Concerning the literary merits of this effusion, it is kindest to be silent. Nevertheless, it gave the American moviegoer— particularly the flapper, spinster, and housewife— what she yearned for: romance, terror, mystery, the spell of the tropics, the lure of the desert, and the perfect lover. There was no doubt of Valentino's draw, now. No other screen actor, before or since, ever had the peculiar intensity of adoration that he had from his fans. Agnes Ayres, seen with him here, was an object of bitter envy to a vast body of women.