A pictorial history of the silent screen (1953)

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COLLEEN MOORE, GEORGE K. ARTHUR IN "IRENE" (FIRST NATIONAL) DOROTHY DUNBAR, RICHARD BARTHELMESS IN "THE AMATEUR GENTLEMAN" (FIRST NATIONAL) GILBERT ROLAND, IN "THE BLONDE SAINT" ANN RORK (FIRST NATIONAL) JOHN BARRYMORE IN "DON JUAN" (WARNER BROS.) PATSY RUTH MILLER IN "WHY GIRLS GO BACK HOME" (WARNER BROS.) RALPH FORBES IN "BEAU GESTE" (PARAMOUNT) LILLIAN GISH IN "THE SCARLET LETTER" (M-G-M) JOHN GILBERT IN "LA BOHEME" (M-G-M) RUTH ROLAND IN "THE MASKED WOMAN'' (FIRST NATIONAL) PERCY MARMONT (PARAMOUNT) KATHLEEN KEY (M-G-M) WALTER MILLER (PATHFJ M ' With the motion picture industry reaching a climax,. / "I is interesting to note some statistical figures as reporbl U U U in tne film trade paper, The Motion Picture News. SonJJ 400 feature pictures were produced in the United States during ti„ year, and one hundred and twenty million dollars was spent in mal ing them. There were 14,673 picture theatres in this country. <) this number, 7,178 were in towns and cities of over 5,000 popul,t tion, and 7,495 in towns and villages under 5,000. New York Sta|j led in motion picture houses, having a total of 1,194. Pennsylvanw HARRY LANGDON, JOAN CRAWFORD IN "TRAMP, TRAMP, TRAMP" 286 (FIRST NAT,ONAL) WALTER PIDGEON, ANNA Q. NILSSON IN "MISS NOBODY" (FIRST NATIONAL) DOROTHY MACKAILL, JACK MULHALL IN "LADY BE GOOD" (FIRST NATIONAL) AILEEN PRINGLE, BASIL RATHBONE IN "THE GREAT DECEPTION" (FIRST NATIONAL)