Holubar Undergoes Operation on Coast (Special to Exhibitors Herald) LOS ANGELES. Nov. 6, [1923] — Allen Holubar. director for Metro, is confined to St. Vincent's hospital here where he is fighting death after undergoing a major operation, according to word from his physicians. His wife, Dorothy Phillips, is tending him. - Holubar returned here from Tennessee recently and was stricken shortly afterwards. (Exhibitors Herald, November 17, 1923, pg 23)
Allen Holubar, Metro producer and one of the best known directors of the profession, is at St. Vincent's hospital here where he recently underwent a major operation. But a short time ago Holubar returned from Tennessee where he filmed some important scenes for his forthcoming release, "The Human Mill." Upon his arrival here he complained of illness and he was ordered to the hospital by his physician. Although the director's condition is pronounced serious he is said to be out of danger but will be confined to the hospital many weeks. His wife, Dorothy Phillips, has been in constant attendance at her husband's bedside since his removal to the hospital. (Exhibitors Herald, November 24, 1923, pg 32)
Allen Holubar Convalescing Allen Holubar, who has been critically ill in St. Vincent's Hospital, in Los Angeles, where he has had a major operation performed, has passed the crisis and is now on the road to recovery. His physicians promise that he will be able to resume work on „The Human Mill,“ his first picture for Metro, which was interrupted by his illness. (New York Morning Telegraph, November 2, 1923, pg 14)
Director Is On Road To Recovery - Allen Holubar, well-known director, has passed the crisis! This was the gist of a statement issued late Friday afternoon by Dr. Elliott Alden at St. Vincent's Hospital in this city where Holubar is confined. - Upon returning from Nashville, Tenn., where he had been filming scenes for Metro's "The Human Mill," he immediately went to the hospital. He knew of his illness but was determined to finish his production. For a while he hovered at death's edge but the latest statement is replete with optimism for his quick recovery. (Camera! November 3, 1923)
Allen Holubar Recovering (Special to The Film Daily) Los Angeles - Allen Holubar, who is in St. Vincents Hospital, has passed the crisis. For a time the director hovered near death. (Wid's Film Daily, November 28, 1923, pg 2)
Allen Holubar Dead
Allen Holubar Dead (Special to The Film Daily) Los Angeles - Allen Holubar died yesterday morning as a result of a recent operation. He was taken ill shortly after starting on "HM" for Metro. The picture has not been completed. He is survived by his widow, professionally known as Dorothy Phillips. - Allen Holubar was born in 1889. He played in stock for some time and in 1914 joined Universal for whom he made a number of pictures. He later made several pictures for First National and then was engaged by Metro to direct a series of four. He was at work on the first when taken ill. Included in his pictures are "The Heart of Humanity," "The Right to Happiness," "Once to Every Woman" and Man-Woman-Marriage." (Wid's Film Daily, November 20, 1923, pg 1)
Allen Holubar, Director, Dies Striken While Filming His Greatest Picture – Was Thought Convalescing From Long Illness – Exertion on Location is Blamed for Death Striken while engaged in making what critics said would be his greatest picture, allen J. Holubar, prominent motion-picture director and producer, and the husband of Dorothy Phillips, film star, died yesterday morning at his home, 1510 Laurel avenue, Hollywood.
Although Mr. Holubar had been seriously ill for nearly two months, his death came suddenly and unexpectedly. While engaged in filming the scenes for „The Human Mill“ in the mountainous sections of Tennessee, Mr. Holubar contracted an illness that six weeks ago made a major operation necessary. He was taken to St. Vincent's Hospital, and after apparently recovering from the shock of the operation was removed to his home. Until his sudden death this morning, he was apparently convalescing, according to his physicians.
Since the director's illness, Miss Phillips and his mother have been constantly at his bedside. Both are said to be prostrated with grief. (...)
„The Human Mill“ was to be the first of three independent procutions for Metro release. For atmospheric scenes he went with his company to Nashville, Tennessee, about three months ago. More than a thousand miles of riding through the mountains of Tennessee in securing locations for the filming of what was said would be his greatest achievement, is believed by relatives to have broken his health. Following his directing of fillming the battle of Franklin, one of the big scenes of the picture, he was confined to his bed at Nashville for two weeks. His illness was kept from the public and he returned to Hollywood, where he worked for ten days before again being compelled to stop production. It is understood that Mr. Holubar's fatal illness dated from the time of his sickness at Nashville.
Besides his widow and mother, Mr. Holubar is survived by an 8-year-old daughter, Gwendolin-Dorthy, and two sisters and a brother residing in San Francisco. (...) (The Los Angeles Times, November 21, 1923, pg 25)
Allen Holubar Is Dead (Special to Exhibitors Herald) Los Angeles, Nov. 20. [1923] — Allen Holubar, one of the best known and talented directors in the motion picture industry, died this afternoon at St. Vincent Hospital. His wife, Dorothy Phillips, was at his bedside. He was taken sick at Nashville, Tenn., while directing '"The Human Mill" for Metro, and was brought back to Hollywood for a major operation. (Exhibitors Herald, December 1, 1923, pg 23)
Allen Holubar Dies at Los Angeles Home Allen Holubar, one of the most prominent of film directors, died at his home in Los Angeles after a six weeks' illness following an operation. He is survived by his wife, known professionally as Dorothy Phillips; a daughter. Gwendolyn, and his mother. - He was taken ill soon after beginning work on " Human Mills," which was to be the first of a series of four pictures for Metro. Allen Holubar was born in San Francisco in 1889. After a successful career on the stage in stock and repertoire companies, he joined Universal in 1914 and appeared in several pictures, among them " Twenty Thousand Leagues Under the Sea." He became a director for Universal and made, among others. " The Heart of Humanity " and " The Right to Happiness." For First National he directed a series of pictures, notably " Man. Woman. Marriage " and " Hurricane's Gal." For Goldwyn he made " Broken Chains." (Motion Picture News, December 1, 1923, pg 2549)
A Fine Fellow Gone - Allen Holubar, Who passed away early in the week, was a mighty fine fellow. (Wid's Film Daily, November 25, 1923, pg 10)
One of our number has passed from our midst. He has gone, leaving behind him a record of splendid achievements in the profession and a beloved memory that we shall cherish for all time to come. These things that he has bequeathed to us speak more eloquently of him than any mere words of ours might. He has answered the call of the Great Director on whose Set we must all appear sooner or later, and he has been taken from us in the prime of his manhood, standing upon the threshold of great success. With a sense of duty that was rare and tenacity that was amazing he sacrificed all to complete his task. To Allan Holubar, gentleman and motion picture director, "Camera!" pays full tribute. He was an asset to his profession and one who commanded respect from his fellowmen. To the bereaved family we extend our sincerest and most heartfelt sympathy and express our desire to he of any possible assistance now and in time to come. (Camera!, November 24, 1923, pg 5)
Allen Holubar Statements
We have not traced books or manuscripts by Allen Holubar about film-making or about his career, so there are only a few lines of his writings that have survived. Nevertheless we thought they should be included in this brief account of his life and films.
Al Holubar claims the dove should not be the symbol of peace. He petted, and coaxed — yes, he cursed — one the other day when he needed two feet showing it flying away, and exposed four hundred. (The Motion Picture News, January 27, 1917)
Theme Is Vital
Allen Holubar Declares Films Lacking Sincerity Will Not Reach Goal - Studies Music To Attain Valued Quality By Allen Holubar
«Every shadow play to be successful must have a theme running through it the same as a motif in music or poetry. The great music masters, Beethoven and Chopin, interpreted their themes through the ear; the shadow play must do this through the eye, yet without giving the same identical effect to the senses. To gain a correct idea of what the great music masters' themes or thought processesave looked up their biographical or autobiographical sketches to ascertain what their feelings were at the time when they composed their work. In this manner, it is easy to interpret joy, sorrow, pathos and at just the exact shades with the lights and shadows that the master intended. This work of the great music masters has been a great help to me in producing screen dramas. In the theme of mother love, running through the 'Heart of Humanity,' I introduced the intangible, indescribable quality, often called the sixth sense, a mother's intuition. All her sons were killed in battle and yet before they departed she intuitively knew they were in danger. There was also an episode, showing for the first time, how the mother felt near her the presence of the spiritualistic departed sons.
I do not believe any screen drama can be highly successful unless the director firmly believes in the sincerity of the theme in his efforts. If the theme lacks sincerity, the play cannot live.» (Exhibitors Herald, March 13, 1920, pg 92)
High Class Production Needed
Believe present tendency toward pessimism in industry principally remit of hysteria, the resultant reaction from inflated war conditions and also due to recent political transitions. Production is greater than ever not in quantity, however, but in quality. The change is due to the developed public taste that now demands only the finest in photoplays. The exhibitor is conscious of this demand and his selection is, and will be keener. And the producer who will survive the coming season will also be conscious of this demand and meet it. High class production in any business will always find a big market. ALLEN HOLUBAR. (The Wid's Daily Film, November 20, 1920, pg 3)
Where Stage and Screen Part
Holubar Points Out That in Scenic Requirements They Are Widely Separated
ALTHOUGH the stage and the screen may be closely allied in some of their phases, such as relate to plot and dramatic action, they are as far removed as the poles in the matter of scenic requirements. The stage attempts to create an illusion, while the screen faithfully mirrors nature.
This statement was made by Allen Holubar of Universal who is one of the directors in the motion picture world who have achieved the highest success.
"Since Edward Gordon Craig [Note: 1872 - 1966, English modernist Theatre Director and Designer] introduced the new impressionistic art to the theatre there have been many theories — some sensible and others pure buncombe — advanced and tried out in connection with stage settings and lighting effects. Some have proved practical for the theatre and others were quickly discarded. Some of the innovations appealed to the theatrical producers because of their economy of construction and transportation, while they pleased an audience because of their absolute simplicity — a relief from the elaborate productions to which the managers of the realistic school had accustomed them.
However, none of these innovations apply to the motion picture production, for, as I have before pointed out, the screen and the stage differ fundamentally so far as the settings are concerned. Stage settings for the spoken drama must convince only the human eye, which may be easily deceived. A certain combination of lights on certain plain backgrounds may create an illusion that will satisfy in the theatre. Canvas and paint may be made to give the effect of reality. But the stage setting for the motion picture must be made for the camera lens, which is a thousand times more keen than the human eye. Nothing but Nature, pure and unalloyed can be employed for the motion picture.
Anything else would be so palpably unreal as to excite laughter instead of admiration.
Rippling lights will never suggest Niagara Falls on the screen, nor a deep shadow a forest. If we must have a cataract on the screen, it must be the real article or an actual reproduction. No half-way measures will deceive the eye of the camera. (The Motion Picture News, October 4, 1919, pg 2818)
Holubar's Difficulties
on the exhausting problem of film-making "It is not the thousand and one details that prey upon the mental energy of a director," director Alan Holubar said in speaking of his experience in directing the amazonian scenes for his coming production. "What annoys a man responsible for the result of a big expenditure is that people employed at $10.00 per day do not attempt to follow instructions or worse still, try to get out of doing anything after once they secure their time order with the costume order in the morning."
"A big movie camp is a genuine melting pot," Mr. Holubar continued, "and it is impossible to congregate hundreds of people for this class of work unless such a melting pot is brought together. In the 800 people working in the amazonian period scenes we had everything from a college professor to a red, red Bolshevik, all creeds, all nationalities and people with all degrees of ambition. Such a horde cannot be handled with the same discipline as an army for numerous reasons, and while we introduced army tactics in our organization and attempts at discipline, we found our work each time greatly handicapped by the scores who would leave their posts and wander away into some secluded spot to avoid the action assigned them. At meal time they were always there — sometimes twice and when pay checks were issued they had no scruples about falling in line the second time. It is unfortunate that this condition exists but it cannot be avoided — it is one of the features in film production where mobs are required that add hundreds of dollars in expense every hour. It required nine days to make the scenes which in the final release will consist of not more than 600 feet and the cost for the production of this nears the 100,000 dollar mark." (The Motion Picture News, September 25, 1920, pg 2488)
Ex-Stars Tell Why They Like Directing
(Editor's Note: King Baggot and Allen Holubar, who herewith present their views on this subject, both attained stardom in histrionic roles. Baggot was a famous screen actor and Holubar a matinee idol on the speaking stage.) By ALLEN HOLUBAR
While I enjoy my daily life as a director and producer, it would be folly for me to say that I do not miss some of the joys of an actor's life, for there is a glamor about the speaking stage that never can be forgotten. Even screen stars declare that they miss the inspiration given by an applauding audience, but they do come into contact with the public in a way that is denied the director-producer.
The latter must be content to get what admiration comes in his way mostly by proxy, for he seldom comes into direct contact with the public. But, like the unseen general who plans and directs the battle, he gets his need of praise if he is successful and his measure of condemnation if he isn't.
An actor on the speaking stage has to retain a keen memory aslong with his looks if he wants to maintain his popularity. He must be full of life and ever ready to fulfill the demands that are made upon him. He is constantly changing his sleeping quarters and his food, if he is on the road, and that works a hardship.
But as a director-producer, a man may settle down just like in any other business and build for the futire. He has to devote much of his leisure attention to studying what will please the public, but he 'get's it over' in a different way and is not so susceptible to the proverbial fickleness of mankind.
Then, again, the director-producer finds a pleasure that is denied the star of the speaking stage. He cannot see himself act, but the man who makes a picture can see his handiwork in every scene, which is a privilege as well as a pleasure. Aside from the artistic side, also, there is the material fact that a director-producer can make more out of a few good pictures than a star could out of his life work. (Oakland Tribune, August 12, 1923, pg 60)FilmographyFilmography
1924: Life's Highway (unrealized project) (Regisseur),
1924: Robes of Redemption (unrealized project) (Regisseur),
1923: The Human Mill (unrealized project) (Regisseur), with Malcolm McGregor, Blanche Sweet, Tom Santschi,
1923: Slander the Woman (Regisseur), with Dorothy Phillips, Lewis Dayton, Robert Anderson,
1922: Broken Chains (Producer), with Malcolm McGregor, Colleen Moore, Ernest Torrence,
1922: Hurricane's Gal (Producer), with Dorothy Phillips, Robert Ellis, Wallace Beery,
1921: Man-Woman-Marriage (Regisseur), with Dorothy Phillips, Ralph Lewis, Margaret Mann,
1920: Once to every woman (Regisseur), with Dorothy Phillips, William Ellingford, Margaret Mann,
1919: Paid in Advance (Regisseur), with Dorothy Phillips, Joseph W. Girard, Lon Chaney,
1919: The Right to Happiness (Regisseur), with Dorothy Phillips, William Stowell, Robert Anderson,
1918: The Heart of Humanity (Regisseur), with Dorothy Phillips, William Stowell, Robert Anderson,
1918: The Talk of the Town (Regisseur), with Dorothy Phillips, George Fawcett, Clarissa Selwynne,
1918: The Mortgaged Wife (Regisseur), with Dorothy Phillips, Alan Roscoe, William Stowell,
1918: A Soul for Sale (Regisseur: (AKA Allen J. Holubar)), with Dorothy Phillips, Katherine Kirkwood, Alan Roscoe,
1917: Fear Not (Regisseur), with Agnes Vernon, Miles McCarthy, Murdock MacQuarrie,
1917: Sirens of the Sea (Regisseur), with Louise Lovely, Carmel Myers, Jack Mulhall,
1917: The Reed Case (Regisseur), with Alfred Allen, Fred Montague,
1917: The Double-Topped Trunk (Regisseur: (AKA Allen J. Holubar) ), with Frank Whitson, George C. Pearce,
1917: The Ninth Day (unrealized project) (Regisseur: (%%)), with Louise Lovely,
1917: The Field of Honor (Regisseur: (AKA Allen J. Holubar) ), with Louise Lovely, Millard K. Wilson,
1917: Treason (Regisseur), with Lois Wilson, Dorothy Davenport,
1917: The Grip of Love (Regisseur: (AKA Allen J. Holubar)), with Louise Lovely, Alfred Allen,
1917: Where Glory Waits (Regisseur: (AKA Allen J. Holubar) ), with , Wadsworth Harris,
1917: The War Waif (Regisseur), with Zoe Rae, Irene Hunt,
1917: The Old Toymaker (Regisseur: (AKA Allen J. Holubar)), with George C. Pearce, Leah Baird,
1917: Heart Strings (Regisseur), with Francelia Billington, Paul Byron,
1917: Midnight (Regisseur: (AKA Allen J. Holubar) ), with Zoe Rae,
1916: The Prodigal Daughter (Darsteller: Reverend Silas Winterburn (AKA Allen J. Holubar)), with Agnes Vernon, Ruth Corbin,
1916: Stronger Than Steel (Regisseur), with Charles Byer, Louise Lovely,
1916: 20,000 Leagues Under the Sea (20 000 Meilen unter dem Meer, Zwanzigtausend Meter unter dem Meer) (Darsteller: Captain Nemo, also known as Prince Daaker), Directed by Stuart Paton, with Jane Gail, Dan Hanlon,
1916: The Taint of Fear (Regisseur), with Joseph W. Girard, Lydia Yeamans Titus,
1916: The Shadow (Regisseur), with Harry Carter, Neva Gerber,
1916: Behind Life's Stage (Regisseur), with Flora Parker DeHaven, Virginia Lee Corbin, Charles Cummings,
1916: Ashes of Remembrance (Regisseur), with Betty Schade, Paul Byron,
1916: The 'Phone Message (Regisseur), with Ruth Stonehouse, Jack Holt,
1916: Any Youth (Regisseur), with Dorothy Phillips, Hector V. Sarno,
1916: A Double Fire Deception (Regisseur), with Matt Moore, Jane Gail, Clara Beyers,
1916: The Health Road (Regisseur: (AKA Allen J. Holubar) ), with Jean Webster, George MacQuarrie,
1916: Behind the Curtain (Darsteller: (AKA Allen J. Holubar) ), Directed by Henry Otto, with Dorothy Phillips, C.C. Stevenson,
1916: Building Up the Health of a Nation (Regisseur), with Bernarr Macfadden,
1915: The Eleventh Dimension (Darsteller: Lloyd Chambers ), Directed by Clem Easton, with William Welsh, Howard Crampton,
1915: The Wrong Label (Darsteller: Chip Malone (AKA Allen J. Holubar)), Directed by Clem Easton, with Jane Gail, William Welsh,
1915: Conscience (Darsteller: Dave Wilson (AKA Allen J. Holubar) ), Directed by Stuart Paton, with William Welsh, Curtis Benton,
1915: The White terror (Darsteller: Clifford Cole, Editor of The Clarion ), Directed by Stuart Paton, with Howard Crampton, Frances Nelson, Hobart Henley,
1915: The Pursuit Eternal (Darsteller: Grace's Admirer ), Directed by Stuart Paton, with Curtis Benton, Frances Nelson, Howard Crampton,
1915: Courtmartialed (Darsteller: Jules Bleriat ), Directed by Stuart Paton, with Hobart Henley, Frances Nelson,
1915: The Bombay Buddha (Darsteller: Al Hassan, The Hindoo ), Directed by Stuart Paton, with Hobart Henley, Frances Nelson,
1915: The Black Pearl (Darsteller: Phil Marsden ), Directed by Stuart Paton, with Frances Nelson, Charles Burbridge,
1915: The Son of His Father (Darsteller), Directed by N. N., with Hobart Henley, Charles Burbridge,
1915: The Heart Punch (Darsteller: (AKA Al Halubar) ), Directed by Stuart Paton, with Jess Willard, , Tom Jones,
1915: The House of Fear (Darsteller: Ralph Irwin - Margaret's Guardian ), Directed by Stuart Paton, with Hobart Henley, Frances Nelson,
1915: A Gentleman of Art (Darsteller: (AKA Allen J. Holubar)), Directed by Stuart Paton, with William Welsh, Dorothy Phillips, Edmund Mortimer,
1914: The Story the Clock Told (Darsteller: Janet's Lost Sweetheart ), Directed by Stuart Paton, with Frances Nelson, Howard Crampton,
1913: Into the North (Darsteller: President of Bank (AKA Mr. Holuber)), Directed by Theodore Wharton, with E.H. Calvert, William Bailey, John Steppling,
1913: Two Social Calls (Darsteller: Charles Randolph ), Directed by N. N., with Bryant Washburn, Ruth Stonehouse,
1913: The Prophecy (Darsteller: Ralph Peters ), Directed by N. N., with Dorothy Phillips, Frank Dayton,
1913: A Wolf Among Lambs (Darsteller: Don Fernando), Directed by N. N., with Ruth Stonehouse, Dolores Cassinelli,
Bibliography
Period Publications 1910-1925
Close-Ups of Universalites, The New York Dramatic Mirror, August 5,
1916, pg 34
Close-Up, Los Angeles, September 5, 1923, pg 16
Moving Picture Weekly, May 12, 1917, pg 15
Wid's Film daily, January 8, 1916.
Wid's Film daily, January 11, 1919
Wid's Film daily, January 23, 1919
Wid's Film Daily, March 28, 1919, pg 1
Allen Holubar como productor de films, O Paiz (Rio de Janeiro), June 14,
1919
O Paiz (Rio de Janeiro), June 15, 1919
Charles Donald Fox & Milton L. Silver,, Who's Who on the Screen, Ross,
New York, 1920, pg 406
Robert E. Sherwood, Who is Who in the Movies / The Best Moving
Pictures of 1922-23, Boston 1923, pg 269
Modern Publications
Filmlexikon degli Autori e delle Opere, Vol III, Roma 1959, pp 257-58
Marice Bessy & Jean-Louis Chardans, Dictionnaire du Cinéma et de la
Télévision III, Pauvert, Paris 1966, pg 50
Billy H. Doyle, The Ultimate Directory of the Silent Screen Performers,
Scarecrow, Metuchen NJ & London, 1995, pg 203
Richard E. Braff, The Universal Silents, A Filmography of the Universal
Motion Picture Manufacturing Company, 1912-1929, McFarland,
Jefferson & London, 1999
Kevin Brownlow, The Parade's Gone By, Knopf New York 1968, pg 278
Kevin Brownlow, Hollywood, The Pioneers, Collins, London, 1979, pg 7
Mark Garret Cooper, Universal Women, University of Illinois Press,
Urbana, 2010, pp 05, 168-169
Jean Mitry, Filmographie Universelle Tome XI, pg 17ff
Paul C. Spehr, American Film Personnel and Company Credits, 1908-
1920, Jefferson & London 1996
William T. Stewart, etc, International Film Necrology, Garland, New York
& London, 1981, pg 145
John T. Weaver, Twenty Years of Silents, Metuchen N.J., 1971, pg 444
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Allen Holubar - KinoTV updated Mon 26. Aug. 2019