America (United Artists) (1924)

Interesting Short Stories of Stars in “America” Facts About the Players in Griffith’s Latest Production That Your Patrons Will Be Interested In ERVILLE ALDERSON, who plays with such striking art Justice Mon¬ tague, is a native of Kansas City, Mo. His father was a prominent attorney, author of several standard works on legal matters. Alderson himself studied law, but was unable to resist the lure of the stage, and on his twenty-first birthday instead of taking his oath at the bar he joined a the¬ atrical stock company. During his career he founded a repertoire theatre in Kansas, which is still regarded as a model institution of its kind. He joined the Griffith forces to play in “The White Rose,” and liked the screen world so well that he has since remained in it< LIONEL BARRYMORE — Most versatile and gifted member of a family whose name is synonymous with the _ finest stage talent, got his first training as a motion picture actor under Mr. Griffith in the old Biograph studios. No one conversant with the recent annals of the spoken stage need be reminded of his triumphs in “The Copperhead,” “The Jest,” and the other outstanding artistic dramatic hits. He is hardly less well known to screen audiences through his remark¬ able characterizations in a score of films. He has been called “the per¬ fect villain,” but never in his remark¬ able career has he had a part into which he has thrown himself as that of Walter Butler in “America.” CAROL DEMPSTER—the Nancy Montague of this stirring epic of Revolutionary days, is a daughter of California. Studying dancing at the Dennishawn School, she had planned for herself a career as a classical terpsichorean and went into motion pictures through chance. She was one of a number of young dancers sent to the Griffith studios in California by the Dennishawn school to dance in “Intolerance.” Mr. Griffith was deeply impressed by her delicate beauty, and at his suggestion she gave up her dancing career for one in the screen world. Under his tuition she developed until in “One Exciting Night,” and “The White Rose,” she achieved signal successes. While mastering the art of acting for the silent drama, Miss Dempster has con¬ tinued her vocal studies, and may at a not far distant date equal on the operatic stage her triumph in “America.” ARTHUR DEWEY, whose majes¬ tic portrayal of George Washington is one of the most charming features of “America,” was born in Colchester, Ill., where his parents still reside. He went on the stage at an early age and earned his spurs through a barnstorm¬ ing career through the Middle West, during which he played every con-' ceivable role. For two years his prin¬ cipal character was that of Simon Legree in “Uncle Tom’s Cabin.” So great was his success in this role through the towns of the West that it seemed likely that he would chase little Eva across the ice for the rest of his life. Desiring to enter the pic¬ ture field, however, he came to New York, and affiliated himself with the Griffith studios. Experts declare that Dewey is physically an exact counter¬ part of Washington. ARTHUR DONALDSON, a direct descendant of the Vikings, the noted Swedish actor who bears so striking a resemblance to King George Third. He began his stage career at the age of seven years, but first appeared in this country in 1896 with the Duff Opera Company. His fine baritone voice attracted much attention and he became leading baritone with the noted Tivoli organization in San Francisco, and later with Augustine Daly. He created the title role of “The Prince of Pilsen,” and later sang in “The Blue Moon” and “The Wan¬ derer.” He returned to Sweden in 1911, appearing there first in speaking parts at the Oscar Theatre, Stockholm, and later in motion pictures directed and written by himself. He came back to this country in 1915, entering the picture field. He has appeared in more than 350 roles, and his experi¬ ence ranges from farce to grand opera. His performance as King George Third was so realistic that Sir Percy Sykes, the British authority on court etiquette who assisted in staging the court scenes, never addressed him save as “Your Majesty.” NEIL HAMILTON, in the pro¬ duction of “America,” has served to present the public with a new leading man of exceptional appearance and extraordinary ability. He was born in Lynn, Mass. Hamilton, still a boy in years, has worked his jvay to the top of his profession through sheer ability. He was educated in Athol, Mass., and later moved to New Haven, Conn. He began his professional career five years ago, playing a small part in the stage production of “The Better ’Ole.” Following engagements in vaudeville and with stock com¬ panies, he entered the picture field under Griffith. Like Miss Dempster, Hamilton may be said to be entirely a product of Griffith’s tuition, for he has appeared in no pictures other than those personally directed by the master of film art. His first appearance on the screen was in “The White Rose.” RILEY HATCH’S long experience in Indian roles, makes him the ideal for the role of Joseph Brant, chief of the Mohawks. Born in Cleveland, Ohio, Hatch began his career as a vocalist, singing in concert and in opera. Following extensive musical study in France, Hatch made his debut in London, England, in the role of Taby-wan-a in “The Squaw Man.” His first stage appearance in his native land was in “Paid in Full.” When William Faversham revived “The Squaw Man” Hatch was cast for his original role. Following a successful career on the spoken stage and in musical comedy Hatch enltered the film field, where his fine work has earned him admirers in all parts of the country. CHARLES EMMETT MACK, the Charles Edward Philip Montague of the picture, was born in Scranton, Pa., and studied at St. Thomas’ College there. He had barely graduated when he got the circus fever and ran away from home to join the Ringling Brothers’ Circus, with which he traveled for two seasons. Then he launched into vaudeville, and later be¬ came a member of a stock company. Attracted by the film, he joined the Griffith forces, and has since been ex¬ clusively under Griffith’s tuition. He had appeared in a number of pictures, his first appearance being in “Dream Street.” HARRY EDWARD O’NEILL, the furiously, galloping Paul Revere of the picture, is of distinguished theatrical parentage. His father was a member of Richard Mansfield’s company, and his mother a member of the famous Cansino family, dancers to the Court of Spain. Born in Rochester, N. Y., young O’Neill traveled with his par¬ ents, and as he grew up studied his lessons on a trunk in their dressing room. In the course of his career he has made a tour of the world as an actor, and for several seasons played in Sydney, Australia. LOUIS ROBERT WOLHEIM, Cornell graduate, professor of mathe¬ matics, star football player, mechanical engineer, and revolutionist, the Cap¬ tain Hare of “America,” is one of the most remarkable and most interest¬ ing men before the American public today. Finding a proffered captaincy in Pancho Villa’s army “too slow,” Wolheim came to New York in search of adventure. He was introduced to Lionel Barrymore and the latter in¬ duced him to enter the motion picture field. His first role was that of a tough captain and he did it so realis¬ tically that the rest of the company threatened to quit. He achieved fame in the title role of Eugene O’Neill’s “Hairy Ape,” which ran on the New York stage for seven months. He has appeared in a large number of pictures, including Griffith’s “Orphans of the Storm,” and never fails to give a convincing characterization. ACTOR RESEMBLES KING GEORGE THIRD After having interviewed more than 150 actors, without finding one suit¬ able for the role of King George Third, D. W. Griffith, filming “America,” to be seen.at the .Theatre, was on the point of eliminating this historical charac¬ ter from his film, when he met Arthur Donaldson, whose brilliant perform¬ ance of the King is one of the features of this romantic photoplay. Donaldson, a direct descendant of the Vikings, was born in Sweden, and began his stage career at the age of three. He possessed a remarkable baritone voice, which was carefully cultivated, and at an early age went upon the operatic stage. He made his American debut in 1896 with the Duff Opera Company, later with the noted Tivoli Opera Or¬ ganization in San Francisco and) after¬ wards with Augustine Daly in “The Prince of Pilsen,” “The Blue Moon” and “The Wanderer.” In 1911 he re¬ turned to Sweden appearing in speak¬ ing roles at the Oscar Theatre, Stock¬ holm, and later in motion pictures, produced and directed by himself. Since 1915 he has been appearing in motion pictures in this country. He bears a remarkable facial resemblance to the most authentic pictures of King George Third, and was exceptionally fitted for the role through his ex¬ tensive knowledge of the life and reign of that monarch, as well as because of his experience at various European courts. Startling Revelations Pictured in Films “Burn all women and children!” Such, according to history, was the edith sent forth by Capt. Walter Butler, the arch-fiend of the War of American Independence, when! he and his band of Tories and Indians swept through Northern New York and Pennsylvania, seeking to exterminate the peaceful farmer-settlers, and to destroy the great grain fields, which General George Washington relied upon to supply his army with food. It is the story of this savage cam¬ paign, in which more than 10,000 men, women and children perished, in which whole settlements were razed, acres of grain fired, and in which some of the most courageous fighting of the War of American Independence took place, that David Wark Griffith depicts in the romantic photodrama of the Revolution, “America,” now at the .Theatre. Probably at once one of the most important, and the least known cam¬ paigns of this country’s struggles for freedom, the war in the North Coun¬ try, as it was known, surpasses in drama many of the better known events and battles of the Revolution. Seven dollars in English gold was offered—and paid according to rec¬ ords—for every male scalp delivered by the Indians, or by those degenerate Tories, who, painting themselves as Indians, performed deeds from the horror of which even the redskins shrank. This price, representing as it did a small fortune in Continental currency, is one of the best indications of how important the British forces of the day regarded this campaign, upon the success or failure of which depended the entire food supply of the Ameri¬ can fighting forces. Against the hordes of redskins and painted Tories, who, drunk with greed, bestiality and strong spirits, invaded the peaceful valleys fighting with the fury of fatalistic madmen, the little colonies of settlers made brave stands, and no portion of history is so replete with records of individual heroism as that which tells of this campaign, from which Griffith has drawn some of his most telling and most dramatic scenes. HOW LARGE WAS GEORGE WASHINGTON The figure of George Washington as shown in “America” was determined by a jury after months of careful re¬ search had been given. An old let¬ ter which he had written to a London tailor immediately after the war of¬ fered the most accurate measurements of him physically. He ordered suits “of the best mate¬ rial, for a man just six feet tall, med¬ ium slender, and standing erect.” So many of Washington’s painted portraits show him as an old man, and vary greatly in details of expres¬ sion as well as to size of features. When the jury, composed of three historians and eight others, had de¬ cided upon the appearance that his¬ tory had recorded for the great leader, Mr. Griffith set about finding the actor to play the part. He tested more than three hundred actors, finally selecting Arthur Dewey as the most perfect type. Dewey is a descendant of Revolutionary an¬ cestors.