Bluebird Photoplays Inc.

Portrait  Bluebird Photoplays Inc.
Produktion - USA

Mini-Biography:
Bluebird Photoplays Inc. Produktion, bekannt durch The scarlet drop (1918), Little Eve Edgarton (1916), The Love Girl (1916), 1915 entstand sein erster genannter Film. Sein letzter bekannter Film datiert 1919.
Biographische Notizen : Chronological notes:

1916 - January 1: "Bluebird Photoplays, Inc. enters film field", Exhibitor's Herald January 01, 1916, pg 13

"Undine" Follows "Secret Love" From the Bluebird Latter Is Scheduled for Release on January 31— Third in the Brand, "Winch Was Directed by Henry Otto, Will Be Followed by "Hop, the Devil's Brew"
BLUEBIRD PHOTOPLAYS have stirred advance interest that seems to promise an immediate success when the release of Mme. Sarah Bernhardt's "Jeanne Dore" goes into effect this week. The preliminary release of the Bernhardt feature in New York and vicinity was marked by great public interest.
The release for January 31, immediately following Bernhardt, will be Helen Ware's portrayal of Joan Lowrie in "Secret Love," a feature founded on Mrs. Frances Hodgson Burnett's novel, "That Lass o' Lowries"; and the third Bluebird will be "Undine."
Henry Otto, who produced the screen version of De La Motte Foquet's fairy tale, went to the Catalina Islands, off the California coast, to find suitable land and water opportunities to realize the great possibilities of the picture phantasy. There, among the grottos and along the beautiful stretches of shore, he found settings for some wonderful photography.
_ "Hop, the Devil's Brew" is scheduled for release, following "Undine," on February 14. This feature has as its basis the traffic in opium, and in working out the details, customs officials of San Francisco co-operated.
As indicating the success that has attended the early campaign, M. H. Hoffman, executive manager of Bluebird Photoplays, Inc., said, in an interview with Motion Picture News, the other day : "I like these long winter nights. They give me so much more time to add to a day's work. We have been forced to unprecedented activities by the demands exhibitors have made upon us for Bluebird Photoplays.
"The news that the Bernhardt film had been pre-released in New York spread quickly throughout the country, and this evidence that 'Jeanne Dore' was actually arriving at a general release has flooded us with demands for the film.
"Whether Bernhardt shall ever come to America remains a question that time alone can solve ; but it is a certainty that she cannot come for many months, even if she is ever able to appear upon the stage over here again.
"The fact that Bluebird has her in pictures, and in the last play she appeared in, is an advantage exhibitors have been quick to realize, and they are anxious to 'cash' on the great amount of interest in Bernhardt that the cable reports to the daily papers are creating.
"There is great demand for the subsequent Bluebird releases. Helen Ware, in 'Secret Love,' is a wonderful feature, full of sensations, and when exhibitors get 'Undine' they will realize what a real feature can do in the way of creating public interest.
"I look for 'Undine' to become the most talked about and sensational feature of the season. Yes, indeed, it looks pretty good for Bluebird and those who exhibit our features." (Motion picture News, February 5, 1916, pg 501)

Bluebird Advertising in Journals Fixes Attention "The Copy" Combines Good Taste with Originality Kept Constantly on Tap by the
BLUEBIRD PHOTOPLAYS, INC., have recently attracted attention by the artistic appearance of their advertising in the trade journals.

This advertising combines good taste with effective appeal, and mechanically is excellent. One of the notable things about it is its large amount of white space. There is enough type to carry the message, but the advertisement is not overcrowded.
Panel effects arc used for these advertisements, and the whole tone is white and gray rather than old-fashioned black, from which advertisers of every description are fast getting away.
The Bluebird publicity department is also issuing very complete press matter tor their features. This is printed on Effective Appeal and Indicates a Fount of "Fountaineers" of the Publicity Department light blue stock, and contains complete synopsis of the play, gossip about the stars and various other items intended for use in newspapers.
Each story has a couple of blank lines in which may be inserted the theatre name and dates of showing.
Instead of printing a large sheet, the Bluebird people hit upon the idea of using a page, 11 x 8 T 4, with one side blank. Six of these pages are printed together, and fold conveniently. Another is inserted. This form is more serviceable than the customary broadside.
The last page carries specimens of stock cuts supplied for newspaper use. These are built along the distinctive lines of the Bluebird advertising mentioned above.(Motion Picture News, February 12, 1916, pg 860)

"Tangled Hearts" Is First Bluebird for April [1916]
FOR the third month of Bluebird Photoplays the April showings arranged by General Manager M. H. Hoffman promise to easily maintain the standard that has thus far marked the progress of the newly-established program of features.
Louise Lovely, in "Tangled Hearts," will start the month with a society problem play in which she is supported by Agnes Vernon and Marjorie Ellison, Lon Chaney, Haywood Mack and Jay Belasco.
Tyrone Power, in "John Needham's Double," makes his debut as a Bluebird star, April. The play was used to first introduce the late E. S. Willard to American theatregoers. The Smalleys directed.
Violet Mersereau joins the Bluebird family to appear as star in the release for April 17 — "The Great Experiment." Rex Ingram furnished the scenario and has directed the production of a psychological problem play which approaches criminology from a new angle.
The feature released April 24 will be "The Gay Lord Waring" with J. Warren Kerrigan the star. This is from the story of Houghton Townley, the scenario by F. McGrew Willis. Otis Turner directed. (Motion Picture News, April 1, 1916, pg 1872 )

Bluebird Themes Fit in with Daily News "Stories" "The Yaqui," Pictured on Mexican Soil, Is Given Special Interest by Villa Chase, and "Great Problem," Prison Reform Play, Bears on Osborne Case
IT becomes opportune to note the success Bluebird photoplays have made under the direction of General Manager M. H. Hoffman, both as a strictly commercial achievement and as exponents of timeliness in theme and general interest.
Of the fourteen features that have been either released or announced, one out of four has touched upon a subject that has held the interest and attention of the general public right at a time when the newspapers carried many columns treating matters from a news standpoint.
The Sarah Bernhardt release started the program, immediately it became known, through cable dispatches, that the great French tragedienne could not fulfill her American engagements this year and, in all probability, may never again appear on the stage in a complete drama.
The constantly increasing unrest in Mexico, culminating in the present open hostilities, gave an opportunity to exhibitors to make profitable use of "The Yaqui," a feature pictured on Mexican soil, and showing much the same territory over which the United States troops are now operating.
In this feature real Mexican soldiers are employed in the battle scenes, and there is a faithful representation of conditions in Mexico.
During the past few days every newspaper in the land has been carrying frontpage stories of the Peck murder case, involving Dr. Waite of New York. "Hop, the Devil's Brew," a recent release on the Bluebird program, is based upon the importation of opium and the traffic in habitforming drugs.
Last week Warden-on-Leave Osborne, of Sing Sing Penitentiary, was vindicated in one set of charges and his trial on further indictments is set for early April.
"The Great Problem," to be released by Bluebird Photoplays on April 17 is based an the psychology of crime as addressed specifically to prison reform.
While the great penologist "Tom Brown" — the name assumed by Mr. Osborne when he became a voluntary prisoner at Auburn Penitentiary — is not directly referred to in "The Great Problem," the theories on which he bases his activities constitute the motive of the film.
Rex Ingram wrote and directed the piece and Violet Mersereau is introduced as a Bluebird star for the first time in "The Great Problem."
(Motion Picture News, April 8, 1916, pg 2032)

«There have been a number of changes at Universal City. For the immediate present, Robert Leonard will direct only, and Herbert Rawlinson will play opposite Ella Hall in " Little Eve Edgarton." In this cast also is Doris Pawn, who recently left the Universal and played lead in a Fox production made by Raoul Walsh. Other notables in this cast are Thomas Jefferson who is playing the character part. The story is an adaptation from the book of the same title by Eleanor H. Abbott, and will be a five-reel Bluebird feature.» (Motion Picture News, June 10, 1916, pg 3567)

It seems at that time there was a confusion with another emerging production division at Universal's, Red Feather Photoplays. Red Feather had similar subjects and using more or less the same directors and production units, but their productions were designed to be on a lower budget scale than the Bluebirds. Several pictures were announced as Bluebirds but then released as Red Feathers, among them Dorothy Phillips first Californian pix "The Mark of Cain," announced as "By Fate's Decree" [q.v.] or Jack Conway's "The Beckoning Trail" [q.v.]

THE Crippled Hand was produced at an expenditure exceeding $50,000.00. It is by far the costliest and most lavish five reel feature ever released. It sets a new standard for photo play features, and is indicative of the high standard set by BLUEBIRD Photo Plays— for all other producers to follow. (...) BLUEBIRD Advertising Matter for Exhititors reflects the extremely high character of BLUEBIRD Photoplays — the features known as " the world s finest screen productions. Posters by artists who know how to combine punch with artistic value; heralds of most appropriate design and color; the most elaborate hand colored photo lobby displays ever produced — all are supplied at prices which permit their most liberal use. From every angle of self interest the Exhibitor will find BLUEBIRD Photoplays the most profitable features productions anywhere in the world today. (Motion Picture News, April 29, 1916, pg 2554)

1916 - July 29: "Bluebird Plays to Feature - Not Stars," Company will exploit Productions in Campaign of National Advertising, says M. H. Hoffman, Exhibitor's Herald, July 29, 1916, pg 30

1916 - August 26: "Bluebird is ready for new season with strong features", Exhibitor's Herald, August 26, 1916, pg 42

«Bluebird Has Three Months’ Releases Ready for Exhibitors Saving the Family Name” and “Wanted, A Home,” Will Feature Mary MacLaren, with Phillips Smalley — “Idle Wives” Also a Smalley-Weber Film
General manager m. h. hoff-MAN announces that there are enough Bluebird features ready for release to supply the program for three months to come, and Bluebird directors are busy with their preparations for future release. September will start the season with four subjects of a widely diversified nature: “ The Unattainable,” a problem drama, introducing Dorothy Davenport and Emory Johnson to the Bluebird program; “ Saving the Family Name,” a Lois Weber production, featuring Mary MacLaren, the heroine of “ Shoes,” with Phillips Smalley as her leading man; “Behind the Lines,” a military drama, featuring Harry Carey and Edith Johnson; and “The Evil Women Do,” a good old-fashioned melodrama, based on Emil Gaboriau’s detective story, “ The Clique of Gold,” in which Elsie Jane Wilson, Francelia Billington, and Rupert Julian will be prominent.
There will be another Lois Weber’s production October 2, to start the second month of the season, Mary MacLaren again being featured in “ Wanted — a Home.” Lois Weber wrote the scenario and directed While the dates are not definitely set, the other October Bluebirds will be drawn from a large selection of subjects ready to release ; among them being : Mendelssohn’s “ Spring Song,” featuring Ruth Stonehouse and Rupert Julian; “The Social Buccaneer,” wherein Louise Lovely and J, Warren Kerrigan, previous lone-stars on the Bluebird program, will unite in portraying Frederick S. Isham’s story ; “ The Chalice of Sorrow,” which will introduce Cleo Madison to the Bluebird series, under Rex Ingram’s direction; and Lois Weber’s presentation of James Oppenheim’s story, “ Idle Wives,” wherein Miss Weber, Phillips Smalley, and Mary MacLaren will be featured. (Motion Picture News, September 9, 1916, pg 1523)

Ella Hall is to be the star of a five-reel Bluebird, written by Fred Myton, Universal staff author. This has not been placed in production as yet. The title is “ Pawn,” the story getting its name from the girl who knows practically nothing of the world beyond the pawn shop in which she has spent much of her life. (Motion Picture News, September 9, 1916, pg 1541)


1916: The changes incident in shifting Bluebird's policy to the broader and more substantial purpose of advertising the play instead of the player will bring several new leading ladies into the series during the next few weeks. Cleo Madison, who has been directing productions on her own account, will make her first appearance as a Bluebird on Oct. 9 in "The Chalice of Sorrow." Roberta Wilson will appear In "The Heritage of Hate," Oct. 23 : Grace Carlyle will be the leading woman for Herbert Rawlinson In "The Eagle's Wing," and Ruth Stonehouse will be seen in several Bluebirds starting with Mendelssohn's "Spring Song" or another play, "Klnkaid Gambler" which is awaiting to be scheduled. [Variety, 1916 pg 49 / 1331-pdf]

1916 - November 10: "Bluebird will exploit films along state rights basis plan", Exhibitor's Herald, November 10, 1916, pg 28

1917 - March 24: "Bluebird has sufficient number of films on list to last till June", Exhibitor's Herald, March 24, 1917, pg 43

1917 - June 23: «Best of the Bluebirds - S.B. Kramer, manager of the New York Bluebird offices, names the ten most popular Bluebird productions as "The Eagle's Wings," a special feature; "The Bugler of Algiers," with Rupert Julian and Ella Hall; "God's Crucible," with Myrtle Gonzalez and George Hernandez; "The Mysterious Mrs. M.," with Mary MacLaren and Harrison Ford; "Mutiny," with Miss Gonzalez and Mr. Hernandez; "Polly Red Head," with Ella Hall; "The Clock," with Franklyn Farnum; "A Jewel in Pawn," with Miss Hall; "Little Miss Nobody," with Violet Mersereau and "Treason," with Allen Holubar and Lois Wilson. Mr. Kramer places "The Eagle's Wings," wich deals with national preparedness, as the most popular Bluebird screened. It is playing, he says, three and four returns to the same theaters.» [The New York Dramatic Mirror, June 23, 1917, pg 7]

1917 - October 20: Carl Laemmle takes active Control of Bluebird
Having finally arranged his otherwise extensive film holdings so that he will have time to devote hinself to his favorite interests, Carl Laemmle, president of Universal, has taken over both the production and distribution of Bluebird photoplays.
The increased activities in Bluebird affairs, which Mr. Laemmle now assumes, as managing director, will involve his full participation in the most important advances the series has made since its establishment, marking a broadening of policy that has for some time been contemplated, and the introduction of innovations still to be announced. Every matter of policy, distribution, production and advertising, in all essential details, will, in future, have his personal attention.
Mr. Laemmle said: "Simultaneously Bluebird enlarges its original scope to encompass not alone the dogma, 'The Play's the Ting,' but goes further to enlist a star in every production. That we may fully exploit our attractions to the mutual advantage of Bluebird and the exhibitor, there will be inaugurated on October 15 [1917] a campaign of national advertising that will employ billposting in all of the more prominent cities in every state from coast to coast. The schedule for this advertising has been prepared; the contracts for posting has been awarded in every town on the list and there will be Bluebirds flying in climates and localities where the bird of happiness has never previously been a-wing during similar seasons." (Motography, October 20, 1917, Vol XVIII pg 816)

1917 - October 20: "Bluebirds Regular at Broadway Theater, New York", Motography, October 20, 1917, Vol XVIII pg 818

1917 - October 27: "November Important Month for Bluebird," Motography, October 27, 1917, Vol XVIII pg 869

1917 - November 3: "Favorite Novels for Bluebirds," Motography, November 3, 1917, Vol XVIII pg 916

1918 - February 2: Laemmle Changes Plays and Titles - Changes in both plays and titles are announced by Managing Director Carl Laemmle for the February program of Bluebirds. The stars involved include Monroe Salisbury, Mae Murray, Carmel Myers and Franklyn Farnum.
Here is the final arrangement for February : " The Wife He Bought " will be presented by Carmel Myers week starting February 4. " Hands Down " will have Monroe Salisbury as its star, released February 11, Ruth Clifford being featured as Mr. Salisbury's leading lady. " The Morals of an Actress " is a Robert Leonard production to be presented by Mae Murray, February 18. " The Rough Lover," to be presented by Franklyn Farnum, February 25, has been previously referred to under its original title, " Breeze Bolton Blows In," a published story by Joseph F. Poland.
Allotments of Bluebirds for March are tentatively forecasted " thus : March 4, Carmel Myers, in " The Green Seal " ; March 11, Monroe Salisbury, in " Hungry Eyes " ; March 18, a Dorothy Phillips production, " Her Fling " ; March 25, Mae Murray, in " The Eleventh Commandment." (The Motion Picture News, February 2, 1918, pg 723)

1918 - March 30: Bluebird to Have Four Regular Companies AN important change has been made in the lineup of the stars and productions which are to be released on its program by the executive officials of Bluebird Photoplays, Inc.
Starting with the week of April 8, the players who will appear regularly in Bluebird productions will be Carmel Myers, Franklyn Farnum, Ella Hall, Ruth Clifford and Monroe Salisbury. The last two play opposite each other and therefore are to be regarded as one unit.
There will therefore be in the future four regular Bluebird companies, containing the stars enumerated above, instead of the greater number that has turned out the features released by this organization heretofore. These companies will provide at least forty of the fifty-two releases for the year. Other stars, however, will occasionally appear on the Bluebird program when their productions are of the quality and standard demanded by the officials of that organization.
Priscilla Dean and Louise Lovely are stars who will provide two of the extra features required to round out the full year's Bluebird output. Examples of their work appear in the list of April's releases.
As they appear in the order of their release, April's Bluebirds are :
April 1, "Fast Company," in which Franklyn Farnum is featured.
April 8, "The Red, Red Heart," with Monroe Salisbury and Ruth Clifford, directed by Rupert Julian.
April 15, Louise Lovely in "A Rich Man's Darling," a comedy-drama.
April 22, "The Two-Soul Woman," an adaptation of " The White Cat," by Gilett Burgess. Priscilla Dean is the featured player.
April 29, Carmel Myers in " The Wife He Bought." The story is by Blair Hall and was adapted by Harvey Gates. Stuart Paton directed the picture. (The Motion Picture News, March 30, 1918, pg 1888)

1918 - March 30: Secret Service" Organized by Universal ACTING upon recommendations made to President Carl Laemmle by Joe Brandt, Universal's assistant treasurer, the Universal company is organizing a " secret service " corps of field men whose sole duty will be to report the reception accorded its various productions.
Mr. Brandt conducted a preliminary investigation along these lines while on a recent tour of the Middle West. One of the complaints made by exhibitors generally was to the effect that producers seem to lack knowledge of the kind of pictures best calculated to attract business of their particular patronage.
Frequently the public's tastes for pictures changes overnight. Today it may consist of a desire to see war pictures. Tomorrow society dramas may be in demand, while on the following day Western dramas are wanted. With an organization of "secret service" men constantly in the field to keep their fingers on the public's pulse, it is Mr. Laemmle's belief that his company will be able to cater to the demand within no greater a period of time than is required to turn out the subjects desired.
The men will be called " Secret Service " men because they will not make themselves known to the exhibitors. Instead, they will enter the theatres as ordinary patrons and observe the effect upon the audiences of the Universal and Bluebird productions that are presented. Whatever criticisms are made will be promptly reported to the home office.
After they have been brought to Mr. Laemmle's personal attention these opinions will be forwarded to Universal City where they will be shown to the directors, who will be able to avoid any errors in production they may have committed in the pictures criticized adversely. (The Motion Picture News, March 30, 1918, pg 1894)

1918 - September 14: Happiness -- that's All!
Others may make sad, sad tales of unhappiness, of crime, of sex problems, of many questionable things popularly thought to be "gripping" - but not Bluebird!
Others may make pictures that you'd "like" to take, but are a little "afraid" of - but not Bluebird!
Others may make pictures that for a time are good - but not Bluebird!
Bluebirds are simply Happiness - simply Entertainment - pictures that you can book right along, year in, year out, with the absolutely certain knowledge that every single one will please your patrons and make money for you.
And that's all that any group of plays can do. (Moving Picture Weekly, September 14, 1918)

Bluebird Photoplays Inc. Filmographie [Auszug]
1919: A Taste of Life (Produktion), Regie John Francis Dillon, mit Edith Roberts, Billy Mason, George Hernandez,
1919: The Little White Savage (Produktion), Regie Paul Powell, mit Carmel Myers, Harry Hilliard, William J. Dyer,
1919: The Sealed Envelope (Produktion), Regie Douglas Gerrard, mit Fritzi Brunette, William Sheer, Joseph W. Girard,
1919: The Millionaire Pirate (Produktion), Regie Rupert Julian, mit Monroe Salisbury, Ruth Clifford, Jack Mower,
1919: Sue of the South (Produktion), Regie Eugene Moore, mit Edith Roberts, Ruby Lafayette, George Hackathorne,
1919: The Nature Girl (Produktion), Regie O.A.C. Lund, mit Violet Mersereau, Donald Stuart, Frank Wunderlee,
1919: Who Will Marry Me? (Produktion), Regie Paul Powell, mit Carmel Myers, Thurston Hall, William J. Dyer,
1919: The Game's Up (Produktion), Regie Elsie Jane Wilson, mit Albert Ray, Ruth Clifford, Mildred Lee,
1918: Together (Produktion), Regie O.A.C. Lund, mit Violet Mersereau, Chester Barnett, Bernard Randall,
1918: The Cabaret Girl (Produktion), Regie Douglas Gerrard, mit Ruth Clifford, Carmen Phillips, Ashton Dearholt,
1918: The Sea Flower (Produktion), Regie Colin Campbell, mit Juanita Hansen, Gayne Whitman, Fred Huntley,
1918: The Light of Victory (Produktion), Regie William Wolbert, mit Monroe Salisbury, Bob Emmons, Fred L. Wilson,
1918: Danger, Go Slow (Produktion: (--??--)), Regie Robert Z. Leonard, mit Mae Murray, Jack Mulhall, Lon Chaney,
1918: She Hired a Husband (Produktion), Regie John Francis Dillon, mit Priscilla Dean, Marian Skinner, Frederick Vroom,
1918: Set Free (Produktion), Regie Tod Browning, mit Edith Roberts, Harry Hilliard, Harold Goodwin,
1918: Tongues of Flame (Produktion), Regie Colin Campbell, mit Marie Walcamp, Gayne Whitman, Alfred Allen,
1918: All Night (Produktion), Regie Paul Powell, mit Carmel Myers, Rudolph Valentino, Charles Dorian,
1918: Hugon, the Mighty (Produktion), Regie Rollin S. Sturgeon, mit Monroe Salisbury, Marjorie Bennett, Antrim Short,
1918: The Lure of Luxury (Produktion), Regie Elsie Jane Wilson, mit Ruth Clifford, Edward Hearn, Harry von Meter,
1918: The Velvet Hand (Produktion), Regie Douglas Gerrard, mit Fritzi Brunette, William Conklin, Gino Corrado,
1918: The Talk of the Town (Produktion: (--??--)), Regie Allen Holubar, mit Dorothy Phillips, George Fawcett, Clarissa Selwynne,
1918: A Society Sensation (Produktion), Regie Paul Powell, mit Carmel Myers, Rudolph Valentino, Lydia Yeamans Titus,
1918: Beans (Produktion), Regie John Francis Dillon, mit Edith Roberts, Lew Cody, Charles K. Gerrard,
1918: Modern Love (Produktion: (?) accd. some sources), Regie Robert Z. Leonard, mit Mae Murray, Philo McCullough, Arthur Shirley,
1918: The Brazen Beauty (Produktion), Regie Tod Browning, mit Priscilla Dean, Gertrude Astor, Thurston Hall,
1918: That Devil, Bateese (Produktion), Regie William Wolbert, mit Monroe Salisbury, Adda Gleason, Lamar Johnstone,
1918: Fires of Youth (Produktion), Regie Rupert Julian, mit Ruth Clifford, Ralph Lewis, George Fisher,
1918: Playthings (Produktion), Regie Douglas Gerrard, mit Fritzi Brunette, Myrtle Reeves, Charles K. Gerrard,
1918: The Love Swindle (Produktion), Regie John Francis Dillon, mit Edith Roberts, Emanuel A. Turner, Leo White,
1918: The Dream Lady (Produktion), Regie Elsie Jane Wilson, mit Carmel Myers, Thomas Holding, Kathleen Emerson,
1918: The Deciding Kiss (Produktion), Regie Tod Browning, mit Edith Roberts, Winifred Greenwood, Hallam Cooley,
1918: Winner Takes All (Produktion), Regie Elmer Clifton, mit Monroe Salisbury, Alfred Allen, Betty Schade,
1918: The Empty Cab (Produktion), Regie Douglas Gerrard, mit Franklyn Farnum, Eileen Percy, Harry de More,
1918: After the War (Produktion), Regie Joseph De Grasse, mit Grace Cunard, Edward Cecil, Frank Whitson,
1918: Scandal Mongers (Produktion), Regie Lois Weber, Phillips Smalley, mit Lois Weber, Phillips Smalley, Rupert Julian,
1918: The City of Tears (Produktion), Regie Elsie Jane Wilson, mit Carmel Myers, Edwin August, Earle Rodney,
1918: The Eagle (Produktion), Regie Elmer Clifton, mit Monroe Salisbury, Edna Earle, Ward Wing,
1918: Which Woman? (Produktion), Regie Tod Browning, Harry A. Pollard, mit Ella Hall, Priscilla Dean, A. Edward Sutherland,
1918: Her Body in Bond (Produktion: (?) accd some reviews), Regie Robert Z. Leonard, mit Mae Murray, Kenneth Harlan, Alan Roscoe,
1918: Midnight Madness (Produktion), Regie Rupert Julian, mit Ruth Clifford, Kenneth Harlan, Harry von Meter,
1918: The Mortgaged Wife (Produktion: (originally announced as)), Regie Allen Holubar, mit Dorothy Phillips, Alan Roscoe, William Stowell,
1918: A Broadway Scandal (Produktion), Regie Joseph De Grasse, mit Carmel Myers, W.H. Bainbridge, Edwin August,
1918: $5,000 Reward (Produktion), Regie Douglas Gerrard, mit Franklyn Farnum, William Lloyd, Gloria Hope,
1918: A Soul for Sale (Produktion: (--??--)), Regie Allen Holubar, mit Dorothy Phillips, Katherine Kirkwood, Alan Roscoe,
1918: The Guilt of Silence (Produktion), Regie Elmer Clifton, mit Monroe Salisbury, Ruth Clifford, Alfred Allen,
1918: Danger Within (Produktion), Regie Rae Berger, mit Zoe Rae, Winifred Greenwood, William A. Carroll,
1918: The Bride's Awakening (Produktion), Regie Robert Z. Leonard, mit Mae Murray, Lew Cody, Clarissa Selwynne,
1918: A Mother's Secret (Produktion), Regie Douglas Gerrard, mit Ella Hall, Mary Mersch, T.D. Crittenden,
1918: The Two-Soul Woman (Produktion), Regie Elmer Clifton, mit Priscilla Dean, Ashton Dearholt, Joseph W. Girard,
1918: The Marriage Lie (Produktion), Regie Stuart Paton, mit Carmel Myers, Kenneth Harlan, Harry Carter,
1918: The Risky Road (Produktion: (Originally announced as), Regie Ida May Park, mit Dorothy Phillips, William Stowell, Juanita Hansen,
1918: The scarlet drop (Produktion: (--??--)), Regie John Ford, mit Harry Carey, Molly Malone, Vester Pegg,
1918: A Rich Man's Darling (Produktion), Regie Edgar Jones, mit Louise Lovely, Edna Maison, Philo McCullough,
1918: The Red, Red Heart (Produktion), Regie Wilfred Lucas, mit Monroe Salisbury, Ruth Clifford, Val Paul,
1918: Fast Company (Produktion), Regie Lynn Reynolds, mit Franklyn Farnum, Fred Montague, Katherine Griffith,
1918: The Wine Girl (Produktion), Regie Stuart Paton, mit Carmel Myers, Rex de Rosselli, E. Alyn Warren,
1918: Brace Up (Produktion), Regie Elmer Clifton, mit Herbert Rawlinson, Claire du Brey, Alfred Allen,
1918: Hungry Eyes (Produktion), Regie Rupert Julian, mit Rupert Julian, Monroe Salisbury, Ruth Clifford,
1918: The Girl in the Dark (Produktion), Regie Stuart Paton, mit Carmel Myers, Ashton Dearholt, Frank Tokunaga,
1918: The Rough Lover (Produktion), Regie Joseph De Grasse, mit Franklyn Farnum, Juanita Hansen, Catherine Henry,
1918: Hands Down (Produktion), Regie Rupert Julian, mit Monroe Salisbury, W.H. Bainbridge, Ruth Clifford,
1918: The Wife He Bought (Produktion), Regie Harry Solter, mit Carmel Myers, Kenneth Harlan, Howard Crampton,
1918: Morgan's Raiders (Produktion), Regie Wilfred Lucas, Bess Meredyth, mit Violet Mersereau, Barbara Gilroy, Edmund Burns,
1918: The Grand Passion (Produktion: (Originally announced as)), Regie Ida May Park, Joseph De Grasse, mit Dorothy Phillips, Jack Mulhall, Lon Chaney,
1918: The Fighting Grin (Produktion), Regie Joseph De Grasse, mit Franklyn Farnum, Edith Johnson, J. Morris Foster,
1918: Broadway Love (Produktion), Regie Ida May Park, mit Dorothy Phillips, Juanita Hansen, William Stowell,
1918: My Unmarried Wife (Produktion), Regie George Siegmann, mit Carmel Myers, Kenneth Harlan, Patrick Calhoun,
1918: The Craving (Verleih), Regie Francis Ford, mit Francis Ford, Mae Gaston, Peter Fitzgerald,
1917: The Girl by the Roadside (Produktion), Regie Theodore Marston, mit Violet Mersereau, Cecil Owen, Ann Andrews,
1917: Face Value (Produktion), Regie Robert Z. Leonard, mit Mae Murray, Clarissa Selwynne, Florence Carpenter,
1917: The Scarlet Car (Produktion), Regie Joseph De Grasse, mit Franklyn Farnum, Edith Johnson, Lon Chaney,
1917: My Little Boy (Produktion), Regie Elsie Jane Wilson, mit Ella Hall, Zoe Rae, Emory Johnson,
1917: The Raggedy Queen (Produktion), Regie Theodore Marston, mit Violet Mersereau, Grace Barton, Donald Hall,
1917: The Savage (Produktion: N° 100), Regie Rupert Julian, mit Ruth Clifford, Colleen Moore, Monroe Salisbury,
1917: The Door Between (Produktion), Regie Rupert Julian, mit Ruth Clifford, Monroe Salisbury, George A. McDaniel,
1917: Princess Virtue (Produktion: N° 99 (??)), Regie Robert Z. Leonard, mit Mae Murray, Lule Warrenton, Wheeler Oakman,
1917: The Winged Mystery (Produktion), Regie Joseph De Grasse, mit Franklyn Farnum, Claire du Brey, Rosemary Theby,
1917: The Lash of Power (Produktion: N° 98 (??)), Regie Harry Solter, mit Kenneth Harlan, Carmel Myers, Helen Wright,
1917: The Man Trap (Produktion), Regie Elmer Clifton, mit Herbert Rawlinson, Ruby Lafayette, Sally Starr,
1917: The Desire of the Moth (Produktion), Regie Rupert Julian, mit Ruth Clifford, Monroe Salisbury, W.H. Bainbridge,
1917: Bondage (Produktion), Regie Ida May Park, mit Dorothy Phillips, Gretchen Lederer, Gertrude Astor,
1917: Anything Once (Produktion), Regie Joseph De Grasse, mit Franklyn Farnum, Eugene Owen, Raymond Wells,
1917: The Spotted Lily (Produktion), Regie Harry Solter, mit Ella Hall, Jack Nelson, George Beranger,
1917: Flirting with Death (Produktion), Regie Elmer Clifton, mit Herbert Rawlinson, Agnes Vernon, Frank MacQuarrie,
1917: The Mysterious Mr. Tiller (Produktion), Regie Rupert Julian, mit Ruth Clifford, Rupert Julian, Frank Brownlee,
1917: A Stormy Knight (Produktion), Regie Elmer Clifton, mit Franklyn Farnum, Jean Hersholt, Agnes Vernon,
1917: Triumph (Produktion), Regie Joseph De Grasse, mit Dorothy Phillips, Lon Chaney, William Stowell,
1917: Mother o' Mine (Produktion), Regie Rupert Julian, mit Elliott J. Clawson, Rupert Julian, Ruth Clifford,
1917: The Charmer (Produktion), Regie Jack Conway, mit Ella Hall, Belle Bennett, Martha Mattox,
1917: Mr. Opp (Produktion), Regie Lynn Reynolds, mit Arthur Hoyt, George Chesebro, George Hernandez,
1917: The Show Down (Produktion), Regie Lynn Reynolds, mit Myrtle Gonzalez, George Hernandez, Arthur Hoyt,
1917: The Clean-Up (Produktion), Regie William Worthington, mit Franklyn Farnum, Agnes Vernon, Mark Fenton,
1917: The Rescue (Produktion), Regie Ida May Park, mit Dorothy Phillips, William Stowell, Lon Chaney,
1917: The Greater Law (Produktion), Regie Lynn Reynolds, mit Myrtle Gonzalez, Gretchen Lederer, Maude Emory,
1917: The Little Terror (Produktion), Regie Rex Ingram, mit Violet Mersereau, Sidney Mason, Ned Finley,
1917: The Car of Chance (Produktion), Regie William Worthington, mit Franklyn Farnum, Agnes Vernon, Helen Wright,
1917: Fires of Rebellion (Produktion), Regie Ida May Park, mit Dorothy Phillips, William Stowell, Lon Chaney,
1917: A Kentucky Cinderella (Produktion), Regie Rupert Julian, mit Rupert Julian, Ruth Clifford, Harry Carter,
1917: The Little Orphan (Produktion), Regie Jack Conway, mit Ella Hall, Jack Conway, Gertrude Astor,
1917: Come through (Verleih: (Bluebird Specials)), Regie Jack Conway, mit Alice Lake, Jean Hathaway, Herbert Rawlinson,
1917: A Doll's House (Ein Puppenhaus) (Produktion), Regie Joseph De Grasse, mit Dorothy Phillips, William Stowell, Lon Chaney,
1917: Bringing Home Father (Produktion), Regie William Worthington, mit Franklyn Farnum, Agnes Vernon, Florence Mayon,
1917: Southern Justice (Produktion), Regie Lynn Reynolds, mit Myrtle Gonzalez, George Hernandez, Jack Curtis,
1917: The Flashlight (Produktion), Regie Ida May Park, mit Dorothy Phillips, William Stowell, Lon Chaney,
1917: Treason (Produktion), Regie Allen Holubar, mit Lois Wilson, Dorothy Davenport, Allen Holubar,
1917: Little Miss Nobody (Produktion), Regie Harry Millarde, mit Violet Mersereau, Clara Beyers, Helen Lindroth,
1917: The Clock (Produktion), Regie William Worthington, mit Franklyn Farnum, Agnes Vernon, Frank Whitson,
1917: The Girl in the Checkered Coat (Produktion), Regie Joseph De Grasse, mit Dorothy Phillips, William Stowell, Lon Chaney,
1917: A Jewel in Pawn (Produktion), Regie Jack Conway, mit Ella Hall, Maie Hall, Antrim Short,
1917: The Pulse of Life (Produktion), Regie Rex Ingram, mit Gypsy Hart, Nicholas Dunaew, Wedgwood Nowell,
1917: Susan's Gentleman (Produktion), Regie Edwin Stevens, mit Violet Mersereau, Maud Cooling, James O'Neill,
1917: Even As You and I (Verleih: (Bluebird Specials)), Regie Lois Weber, mit Ben F. Wilson, Mignon Anderson, Bertram Grassby,
1917: The Gift Girl (Produktion), Regie Rupert Julian, mit Louise Lovely, Emory Johnson, Rupert Julian,
1917: Polly Redhead (Produktion), Regie Jack Conway, mit Ella Hall, Gertrude Astor, Charles Hill Mailes,
1917: Mutiny (Produktion), Regie Lynn Reynolds, mit Myrtle Gonzalez, Jack Curtis, George Hernandez,
1917: The Boy Girl (Produktion), Regie Edwin Stevens, mit Violet Mersereau, Sidney Mason, Caroline Harris,
1917: Hell Morgan's Girl (Produktion), Regie Joseph De Grasse, mit Dorothy Phillips, William Stowell, Lon Chaney,
1917: The Saintly Sinner (Produktion), Regie Raymond Wells, mit Ruth Stonehouse, Jack Mulhall, Alida Hayman,
1917: The Man Who Took a Chance (Produktion), Regie William Worthington, mit Franklyn Farnum, Agnes Vernon, Lloyd Whitlock,
1917: The Reward of the Faithless (Produktion), Regie Rex Ingram, mit Claire du Brey, Wedgwood Nowell, Betty Schade,
1917: The Mysterious Mrs. Musslewhite (Produktion), Regie Lois Weber, mit Harrison Ford, Mary MacLaren, Evelyn Selbie,
1917: The War Waif (Produktion), Regie Allen Holubar, mit Allen Holubar, Zoe Rae, Irene Hunt,
1917: The Devil's Pay Day (Produktion), Regie William Worthington, mit Franklyn Farnum, Leah Baird, Gertrude Astor,
1917: God's Crucible (Produktion), Regie Lynn Reynolds, mit George Hernandez, Val Paul, Fred Montague,
1917: Her Soul's Inspiration (Produktion), Regie Jack Conway, mit Ella Hall, Marc Robbins, Dick Ryan,
1917: The Piper's Price (Produktion), Regie Joseph De Grasse, mit Dorothy Phillips, Lon Chaney, Maude George,
1917: Black Orchids (Produktion), Regie Rex Ingram, mit Cleo Madison, Francis McDonald, Wedgwood Nowell,
1916: The Right to be Happy (Produktion), Regie Rupert Julian, mit Rupert Julian, John Cook, Claire McDowell,
1916: The Honor of Mary Blake (Produktion), Regie Edwin Stevens, mit Violet Mersereau, Tina Marshall, James O'Neill,
1916: The Price of Silence (Produktion), Regie Joseph De Grasse, mit Dorothy Phillips, Vola Vale, Jack Mulhall,
1916: The Sign of the Poppy (Produktion), Regie Charles Swickard, mit Hobart Henley, Gertrude Selby, Mina Cunard,
1916: The Eagle's Wings (Produktion), Regie Robert Z. Leonard, Rufus Steele, mit Grace Carlyle, Vola Vale, Herbert Rawlinson,
1916: The Bugler of Algiers (Produktion), Regie Rupert Julian, mit Ella Hall, Kingsley Benedict, Rupert Julian,
1916: The Measure of a Man (Produktion), Regie Jack Conway, mit J. Warren Kerrigan, Louise Lovely, Katherine Campbell,
1916: A Stranger from Somewhere (Produktion), Regie William Worthington, mit Franklyn Farnum, Agnes Vernon, Claire McDowell,
1916: Gloriana (Produktion), Regie E. Mason Hopper, mit Zoe Rae, Virginia Foltz, William Canfield,
1916: The End of the Rainbow (Produktion), Regie Jeanie Macpherson, Lynn Reynolds, mit Myrtle Gonzalez, George Hernandez, Val Paul,
1916: Love Never Dies (Produktion), Regie William Worthington, mit Dorothy Clark, Ruth Stonehouse, Maurice L. Kusell,
1916: The Social Buccaneer (Produktion), Regie Jack Conway, mit J. Warren Kerrigan, Louise Lovely, Maude George,
1916: The Chalice of Sorrow (Toska, Gluten der Leidenschaften) (Produktion), Regie Rex Ingram, mit Cleo Madison, Wedgwood Nowell, Charles Cummings,
1916: Wanted: A Home (Produktion), Regie Phillips Smalley, Lois Weber, mit Mary MacLaren, Jack Mulhall, Charles Marriott,
1916: The Evil Women Do (Produktion), Regie Rupert Julian, mit Elsie Jane Wilson, Francelia Billington, Rupert Julian,
1916: Behind the Lines (Produktion), Regie Henry MacRae, mit Edith Johnson, Harry Carey, Ruth Clifford,
1916: Saving the Family Name (Produktion), Regie Lois Weber, Phillips Smalley, mit Mary MacLaren, Gerard Alexander, Carl von Schiller,
1916: The Unattainable (Produktion), Regie Lloyd B. Carleton, mit Dorothy Davenport, Emory Johnson, Mattie Witting,
1916: The Girl of Lost Lake (Produktion), Regie Lynn Reynolds, mit Myrtle Gonzalez, Countess du Cello, Ruby Cox,
1916: Little Eve Edgarton (Produktion), Regie Robert Z. Leonard, mit Ella Hall, Doris Pawn, Gretchen Lederer,
1916: The Beckoning Trail (Produktion: (?) announced as Bluebird production), Regie Jack Conway, mit J. Warren Kerrigan, Maude George, Harry Carter,
1916: Bettina Loved a Soldier (Produktion), Regie Rupert Julian, mit Louise Lovely, George Berrell, Rupert Julian,
1916: Love's Lariat (Produktion), Regie Harry Carey, George Marshall, mit Harry Carey, Neal Hart, William Quinn,
1916: The Mark of Cain (Produktion: (?) - Announced as Bluebird Production), Regie Joseph De Grasse, mit Lon Chaney, Dorothy Phillips, Frank Whitson,
1916: The Secret of the Swamp (Produktion), Regie Lynn Reynolds, mit George Hernandez, Myrtle Gonzalez, Fred Church,
1916: The Silent Battle (Produktion), Regie Jack Conway, mit J. Warren Kerrigan, Lois Wilson, Maude George,
1916: The Love Girl (Produktion), Regie Robert Z. Leonard, mit Ella Hall, Adele Farrington, Kingsley Benedict,
1916: Broken Fetters (Produktion), Regie Rex Ingram, mit Violet Mersereau, Kittens Reichert, William Garwood,
1916: Shoes (Produktion), Regie Lois Weber, mit Mary MacLaren, Harry Griffith, Mrs. Witting,
1916: The Three Godfathers (Produktion), Regie Edward LeSaint, mit Harry Carey, George Berrell, Edward LeSaint,
1916: The Grasp of Greed (Produktion), Regie Joseph De Grasse, mit C. Norman Hammond, Jay Belasco, Louise Lovely,
1916: Bobbie of the Ballet (Produktion), Regie Joseph De Grasse, mit Louise Lovely, Jay Belasco, Jean Hathaway,
1916: Alias Jane Jones (Produktion), Regie Cleo Madison, mit Cleo Madison, William V. Mong, Ray Hanford,
1916: The Eye of God (Produktion), Regie Phillips Smalley, Lois Weber, mit Tyrone Power, Ethel Weber, Lois Weber,
1916: A Son of the Immortals (Produktion), Regie Otis Turner, mit J. Warren Kerrigan, Bertram Grassby, Lois Wilson,
1916: Naked Hearts (Produktion), Regie Rupert Julian, mit Francelia Billington, Rupert Julian, Douglas Gerrard,
1916: The Gilded Spider (Produktion), Regie Joseph De Grasse, mit Louise Lovely, Lon Chaney, Lule Warrenton,
1916: Elusive Isabel (Produktion), Regie Stuart Paton, mit Florence Lawrence, Sidney Bracey, Harry F. Millarde,
1916: The Crippled Hand (Produktion), Regie David Kirkland, Robert Z. Leonard, mit Robert Z. Leonard, Ella Hall, Marc Robbins,
1916: The Gay Lord Waring (Produktion), Regie Otis Turner, mit J. Warren Kerrigan, Lois Wilson, Bertram Grassby,
1916: The Great Problem (Produktion), Regie Rex Ingram, mit Violet Mersereau, Dan Hanlon, Lionel Adams,
1916: John Needham's Double (Produktion), Regie Phillips Smalley, Lois Weber, mit Tyrone Power, Agnes Emerson, Frank Elliott,
1916: The Dumb Girl of Portici (Die Stumme von Portici) (Produktion: (--??--) (/xx/)), Regie Lois Weber, Phillips Smalley, mit Anna Pavlova, Rupert Julian, Wadsworth Harris,
1916: Tangled Hearts (Produktion), Regie Joseph De Grasse, mit Louise Lovely, Agnes Vernon, Lon Chaney,
1916: The Flirt (Produktion), Regie Phillips Smalley, Lois Weber, mit Marie Walcamp, Grace Benham, Antrim Short,
1916: The Yaqui (Produktion), Regie Lloyd B. Carleton, mit Hobart Bosworth, Goldie Colwell, Dorothy Clark,
1916: The Strength of the Weak (Produktion), Regie Lucius Henderson, mit Mary Fuller, Edwards Davis, Harry Hilliard,
1916: The Grip of Jealousy (Produktion), Regie Joseph De Grasse, mit Louise Lovely, Lon Chaney, Grace Thompson,
1916: The Wrong Door (Produktion), Regie Carter de Haven, mit Carter de Haven, Flora Parker DeHaven, George A. Williams,
1916: Undine (Produktion), Regie Henry Otto, mit Ida Schnall, Douglas Gerrard, Edna Maison,
1916: Secret Love (Produktion), Regie Robert Z. Leonard, mit Jack Curtis, Helen Ware, Dixie Carr,
1915: Jeanne Doré (Verleih), Regie René Hervil, Louis Mercanton, mit Sarah Bernhardt, Raymond Bernard, Jeanne Costa,

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