mutual film company
…the spring of 1912 (the mutual film corporation and the universal film manufacturing company) .
thanhouser company film preservation is a co - founder and proud sponsor of the international youth silent film festival .
from its founding in 1909 through 1917, thanhouser company, and its successor company, mutual' s thanhouser film corporation, produced and released over 1, 000 silent films to worldwide distribution .
mutual film company is located in culver city, california. this organization primarily operates in the motion picture production business / industry within the motion pictures sector. this organization has been operating for approximately 17 years. mutual film company is estimated to generate $ 251, 220 in annual revenues, and employs approximately 2 people at this single location .
charles chaplin was delighted when he began fulfilling his 1916 contract with the mutual film company, a distribution outfit that handled the films of many of the top film producers of the time. the contract was the first made with chaplin’s own production company, which meant that he could produce his comedies with total creative control .
the patriot columbia pictures presents a mutual film company production; a centropolis entertainment production; written by robert rodat; produced by dean devlin, mark gordon and gary levinsohn; directed by roland emmerich .
what made villa’s contract so odd, though, was its terms, or at least the terms it was said to have contained. here’s how the agreement he reached with the mutual film company is usually described :
reviews of silent film releases on home video. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
snakes on a plane new line cinema presents a mutual film company production; a david r. ellis film; produced by gary levinsohn, don granger, craig berenson; screenplay by john heffernan and sebastian gutierrez; story by david dalessandro and john heffernan; directed by david r. ellis .
the patriot [ videorecording ] / columbia pictures presents a mutual film company production; a centropolis entertainment production; written by robert rodat; produced by dean devlin, mark gordon and gary levinsohn; directed by roland emmerich. – national library
logo: the 3d blue name
mutual film company
, in a corporate font, zoom from the right side and place itself over the blue box with golden outline, which fades in. the shadows are seen. as the name zooms, the sun blink plays on it. fx / sfx: the company name zooming out, the sun .
snakes on a plane [ videorecording ] / new line cinema presents a mutual film company production; a david r. ellis film; produced by gary levinsohn, don granger, craig berenson; screenplay by john heffernan and sebastian gutierrez; story by david dalessandro and john heffernan; directed by david r. ellis. – national library
today, chaplin’s mutual series is recognized as one of the most inspired creative bursts in film history. produced during his third year of filmmaking, the 12 mutual comedies mark not the culmination of a career but merely the closing of a single chapter. over the 18 months it took to complete the series, his characterizations and scenarios significantly matured. his first mutual releases, such as
taken from: lara croft: tomb raider - the cradle of life (2003) (c) 2003 mutaul film company / paramount pictures. (c) 2003 paramount home video .
the mutual comedies show signs of chaplin maturing as a cinema artist. his mutual stories became more carefully constructed and less reliant on senseless bash - and - bop slapstick. the gags show flashes of comic brilliance. — carl bennett
the eternal film (h. k .) co. (hong kong )
fellow' s favorite pastime is drinking and chasing women. the film opens in
keystone comedy, the knockout is really a roscoe
fatty
arbuckle film .
this, his thirty - first comedy for keystone. the film is a direct
unusual state for his film character. his wife, played by mabel normand ,
while at mutual, chaplin assembled a dedicated company, the core of which stuck with him their entire careers. edna purviance appeared as his leading lady in all 34 films that he made between 1915 and 1923. screen newcomers albert austin and eric campbell, whom chaplin knew from his vaudeville days, also never worked for any other moviemaker. henry bergman, the only one of chaplin’s players who joined mutual with extensive film experience, appeared in every chaplin film for the next 20 years. cameraman rollie totheroh photographed chaplin’s films through 1947’s
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races, the first released film with the tramp, but released a week later .
over his lost love. the film is a farce, a parody of the overacted
hat (similar to his costume in his first film, making a living) .
keystone park / hotel farces with a few twists added in. the film opens in
pancho villa, seen here in a still taken from mutual’s exclusive 1914 film footage. but did the mexican rebel really sign a contract agreeing to fight his battles according to the ideas of a hollywood director ?
this early dvd collection of four of the twelve chaplin mutual comedies slightly improves upon the previously - released laserdisc boxset edition of 1995, which marked the third time the mutual films had been released on laserdisc. each successive edition improved on its predecessor. picture quality has improved. each film is more complete in content. and each film is slightly windowboxed to allow the maximum picture area to be seen on all televisions .
2018 © san francisco silent film festival. true art transcends time. all rights reserved .
send a crew out to a local dance hall where some of the film was shot .
role in this film went on to perform roles in half of chaplin' s keystones .
schade, who is also in this film as a singer. he plays many roles in
but the contract between the rebel leader and mutual films proves to have been a good deal less proscriptive than popularly supposed. the only surviving copy, unearthed in a mexico city archive by villa’s biographer friedrich katz, lacks all the eye - opening clauses that have made it famous: “there was absolutely no mention of reenactment of battle scenes or of villa providing good lighting, ” katz explained. “what the contract did specify was that the mutual film company was granted exclusive rights to film villa’s troops in battle, and that villa would receive 20% of all revenues that the films produced. ”
the face upon the floor
. the film begins in a saloon where charlie, a
also marked the end of eric campbell’s brief screen career. the six - foot five, 300 - pound scottish actor, who had joined mutual to play the “heavy” in chaplin’s comedies, was killed in an automobile accident shortly after the film’s release .
in 1914, the mexican rebel signed a contract with an american newsreel company that required him to fight for the cameras. too good to be true? not entirely
5 .
ride for a bride
( 1913) working title :
the golf ball
finished or shipped: november 1, 1913. released november 1st, 1913. keystone film company. 1 reel. directed by george nichols. starring roscoe arbuckle with edgar kennedy .
thierry lemoine’s 1999 filmography, entitled balboa films: a filmography lists the total of 237 + productions for 1913 - 1918 alone, not including productions at the same studio site once called the california motion picture manufacturing company (1910 - 1913), followed by various other film companies using balboa studio between 1918 - 1922 after the horkheimers faced insolvency (1918) and ceased their own balboa film production .
13 .
the chicken chaser
( 1914) working title :
new yard lovers
. finished or shipped: march 15, 1914. released 2 april, 1914. keystone film company. directed by roscoe arbuckle. starring roscoe arbuckle, the keystone kops including edgar kennedy .
' the films are shipped by the manufacturers to the film exchanges inclosed in circular metal boxes, each of which metal boxes is in turn inclosed in a fiber or wooden container. the film is in most cases wrapped around a spool or core in a circle within the metal case. sometimes the film is received by the film exchange wound on a reel, which consists of a cylindrical core with circular flanges to prevent the film from slipping off the core, and when so wound on the reel is also received in metal boxes, as above described. when the film is not received on a reel, it is, upon receipt, taken from the metal box, wound on a reel, and then replaced in the metal box. so wound and so inclosed in metal boxes, the films are shipped by the film
25 .
the noise of bombs
( 1914) working title :
the blackhanders
. finished and shipped: november 3, 1914. released november 19, 1914. keystone film company. 1 reel. with charlie murray, and edgar kennedy. edgar kennedy played the chief of police .
huerta got things off and running, compelling the cameramen who filmed his campaigns to screen their footage for him so he could censor it. but villa was the one who maximized his opportunities. the upshot, four years into the war, was the rebel general’s acceptance of the mutual film contract .
exchanges to their customers. the customers take the film as it is wound on the reel from the metal box, and exhibit the pictures in their projecting machines, which are so arranged as to permit of the unwinding of the film from the reel on which it is shipped. during exhibition, the reel of film is unwound from one reel and rewound in reverse order on a second reel. after exhibition, it must be again unwound from the second reel from its reverse position and replaced on the original reel in its proper position. after the exhibitions for the day are over, the film is replaced in the metal box and returned to the film exchange, and this process is followed from day to day during the life of the film.' all shipments of films from manufacturers to film exchanges, from film exchanges to exhibitors, and from exhibitors back to film exchanges, are made in accordance with regulations of the interstate commerce commission, one of which provides as follows :
moving picture films must be placed in metal cases, packed in strong and tight wooden boxes of fiber pails .
jura and bardin’s research also involves balboa productions, 1913 - 1918, as well as movie production prior to the establishment of the balboa amusement producing company, namely the preceding california motion picture manufacturing company (1910 - 1913) at the very same site, and after 1918, those productions during the last five years of studio production in long beach (1918 - 1923) .
also marks the first appearance of henry bergman in a chaplin film, beginning a streak that continued until bergman’s death in 1946 .
9 .
in the clutches of a gang
( 1914) working title :
the disguised mayor
. finished or shipped: december 11, 1913. released 17 january, 1914. keystone film company. 2 reels. directed by george nichols. starring roscoe arbuckle, ford sterling, hank mann and edgar kennedy .
( 1917). it took him four months to complete the film, which included hundreds of takes shot on santa monica’s beaches .
the first time i ever had heard of pancho villa, was from a young indiana jones movie. many of us, however, can recall villa' s part in the mexican revolution from history class back in middle school. my memory of film and villa is closer to actuality than i had anticipated. see, pancho villa (born doroteo arango) was just as much of a raging war soldier as he was a silverscreen star .
in 1914, villa signed a contract with the mutual film corporation of new york that essentially sold the movie rights of the revolution to mutual for $ 25, 000 and a share of the profits .
(
whatever the variations in accounts of pancho’s film deal, though, it ends the same way. there’s always this sting in the tale :
the british film institute has compiled an excellent filmography with plenty of information on chaplin’s films, including detailed descriptions of the very early shorts .
12 .
his favorite pastime
( 1914) working title :
the drunk
. released 16 march, 1914. (reissued as
the bonehead
,
charlie is thirsty
) keystone film company. 1 reel. directed by george nichols. starring roscoe arbuckle, charles chaplin, hank mann, peggy pearce, and edgar kennedy .
a recent discovery as a previously unknown appearance, a thief catcher is actually a ford sterling film, with chaplin appearing briefly as a keystone kop. film historian and preservationist paul gierucki found a 16mm print of it by chance in 2010 at an antiques show in michigan. after consultations with other silent film experts, chaplin was recognized in the film. a thief catcher was released on february 19, 1914, nine days before between showers. it co - stars mack swain and edgar kennedy as burglars whom sheriff sterling is pursuing. chaplin appears as one of two cops who rescue sterling from captivity by the yeggmen .
nothing in this first report suggests that the contract was anything more than a broad agreement guaranteeing privileged access for mutual’s cameramen. a few weeks later, though, came word of the battle of ojinaga, a northern town defended by a force of 5, 000 federales, and for the first time there were hints that the contract included special clauses. several newspapers reported that villa had captured ojinaga only after a short delay while mutual’s cameramen moved into position .
contemporary sources make it easy to understand why mutual had this sudden change of heart. villa had kept his side of the bargain; the company’s cameramen had secured the promised exclusive footage of the battle of ojinaga. but when the results of these initial efforts reached new york on january 22, they proved disappointing. the footage was no more dramatic than that filmed earlier in the war without the benefit of any contract. as moving picture world reported on january 24 :
jack the ripper comes loping again out of the 1888 london fog in yet another version of his crimes, his motives and his often - surmised, never - proved identity. deadly dull and begging, entry imported from australia dies not of strangulation or slashing but of ennui. filmed in melbourne, australia, by michael r. joyce prods. , mutual film co. [ … ]
when the completed film was brought back to hollywood, it was found too unbelievable to be released—and most of it had to be reshot on the studio lot .
21 .
the rounders
( 1914) working title :
the two dunks
. finished or shipped: august 21, 1914. released: september 7, 1914. keystone film company. 1 reel. directed by charles chaplin. starring roscoe arbuckle, charles chaplin, minta durfee, phyllis allen, al st john, charles parrott and edgar kennedy. reissued as
the two drunks
( 1916) was the eighth of the mutual comedies and highlighted chaplin’s virtuosity on roller skates, a skill he had previously demonstrated in the vaudeville skit “skating. ” as he often did with successful bits, he reprised his skate work in
involved in the research, acquisition, preservation and publication of educational materials related to the early silent motion picture era, with a specific focus on the thanhouser film enterprise .
3 .
heinze' s resurrection
( 1913) released: 17 february, 1913. keystone / mutual. directed by mack sennett. starring mabel normand, ford sterling, fred mace, nick cogley, betty schade and edgar kennedy .
mpaa rating: r; for language, a scene of sexuality and drug use, and intense sequences of terror and violence. board of film censors, singapore: m18 .
2 .
mabel' s heroes
( 1913) released: 13 february, 1913. keystone / mutual. directed by george nichols. starring mabel normand, mack sennett, ford sterling, fred mace, hank mann, nick cogley and edgar kennedy .
previously we recommended the now out - of - print the chaplin mutuals dvd series with the caveat noted that there was missing footage. david shepard has now released a new edition of the chaplin mutual comedies that are more complete and feature some improvement in visual quality .
charlie chaplin' s twentieth film for keystone marks a turning point in his career. from this point on, with one exception, he was to write and direct all his future films .
the ambition is to build dublin bay studios as a world - class studio location by creating ireland’s largest full - service film, tv and digital content production studios at poolbeg west in dublin city centre .
a tiny handful of cameramen were luckier, and, given precisely the right circumstances, could obtain useful action footage. another newsreel man who filmed the early stages of the revolution told the film historian robert wagner that
it' s a keystone, with chaplin in street clothes, mabel normand at the switchboard, and an unidentified third person. it' s not the normand film
hello mabel
as was once suggested. there' s a possibility that the stills come from a late 1913 production
how motion pictures are made
which was shot during chaplin' s earliest days at keystone. below is a poster from that film :
4 .
mabel' s awful mistake
( 1913) working title :
the saw mill
. date finished or shipped: april 5, 1913. released: 12 may, 1913. keystone - mutual. directed by mack sennett. starring mabel normand, mack sennett, ford sterling and edgar kennedy .
8 .
mabel' s stormy love affair
( 1914) working title :
servant hero
. finished or shipped december 14, 1913. released 5 january, 1914. keystone - mutual. directed by mabel normand. starring mabel normand, alice davenport, nick cogley, hank mann and edgar kennedy .
14 .
the star boarder
( 1914) working title :
the hash - house hero
finished or shipped: march 19, 1914. released april 4, 1914. keystone film company. 1 reel. directed by george nichols. also known as
hash - house herc
( 1914) ,
in love with his landlady
( 1914) ,
landlady' s pet
( 1914). starring charlie chaplin, minta durfee, alice davenport, gordon griffith with edgar kennedy. edgar kennedy played the landlady' s husband .
street fighting is the easiest to film, for if you can get to a good location on a side street, you have the protection of all the intervening buildings from artillery and rifle fire, while you occasionally get the chance to shoot a few feet of swell film. i got some great stuff in mexico city, a few days before madero was killed. one fellow, not twenty feet from my camera, had his head shot off .
“fulfilling the mutual contract, i suppose, was the happiest period of my career, ” chaplin later recalled. “i was light and unencumbered, twenty - seven years old, with fabulous prospects and a friendly, glamorous world before me. within a short time i would be a millionaire—it all seemed slightly mad. ” mutual sought to retain the comedian by offering him a million dollars for eight additional films, but chaplin was ready for independence. on november 1917, he gathered up his loyal team and broke ground near a citrus grove at the corner of le brea and de longpre for charlie chaplin studios. he went on to create his masterpieces
6 .
cohen saves the flag
( 1913) working title :
the jewish soldier
. finished or shipped: april 8, 1913. released: 27 november, 1913. keystone - mutual. directed by mack sennett. starring mabel normand, ford sterling, hank mann, nick cogley and edgar kennedy .
16 .
twenty minutes of love
( 1914) working title :
passing of time
1 reel. finished or shipped: march 28, 1914. released april 20, 1914. keystone film company. directed by madden. supervised by mack sennett. also known as
cops and watches
( 1914) ,
he loves her so
( 1914) ,
love - friend
( 1914). with charles chaplin, minta durfee, chester conklin, emma clifton and edgar kennedy. edgar kennedy played the lover or an ardent suitor .
10 .
won in a closet
( 1914) working title :
the rube
. finished or shipped: december 39, 1913. released: january 22, 1914. keystone - mutual. directed by mabel normand. starring mabel normand, harry mccoy, alice davenport, hank mann, nick cogley and edgar kennedy .
22 .
dough and dynamite
( 1914) working title :
in trouble
, finished or shipped: september 18, 1914. released october 26, 1914. keystone film company. 2 reels. directed by charlie chaplin. also known as
the cook
( 1914) ,
the doughnut designer
( 1914) ,
the new cook
( 1914). with charlie chaplin, chester conklin, fritz schade, norma nichols, vivian edwards, cecile arnold, jack dillon, phyllis allen, slim summerville, charlie chase, and edgar kennedy. reissued as
the doughnut designers
and
the cook
edgar kennedy played striking baker
while chaplin’s onscreen persona is primarily remembered today as “the tramp, ” each of his mutual comedies feature chaplin as a different character in different settings. he intended this variety from the outset, telling interviewer kitty kelly on march 10, 1916, “i’ll keep the moustache, but won’t stick to the clothes. it’ll depend on what the circumstances demand. ” chaplin plays a vagrant only in
19 .
the knock - out
( 1914) working title :
fighting demon
. finished or shipped: may 29, 1914. released 11 june, 1914 (reissued as
the pugilist
, and
counted out
) keystone film company. 2 reels. directed by mack sennett, charles avery, and roscoe arbuckle. also known as
counted out
( 1914) ,
the pugilist
( 1914). starring roscoe arbuckle, mabel normand, charles chaplin, minta durfee, mack swain, eric campbell, mack sennett, ford stirling, al st john, hank mann, george
slim
summerville, charles parrott, and edgar kennedy. edgar kennedy played cyclone flynn, the champion .
24 .
tillie' s punctured romance
( 1914) working title :
dressler no. 1
. finished or shipped july 25, 1914. released november 14, 1914. keystone film company. (mack sennett' s first film to run 6 reels. until then all sennett films ran one or two reels .) directed by mack sennett. also known as
for the love of tillie
( 1914) ,
marie' s millions
( 1914) ,
tillie' s big romance
( 1914) ,
tillie' s nightmare
( 1914). starring charlie chaplin, mabel normand, marie dressler, mack swain, charles bennett, charles chase, chester conklin, charles murray, minta durfee, gordon grimth, phyllis allen, alice davenport, harry mccoy, alice howell, wallace macdonald, hank mann, slim summerville, al st john, eddie sutherland, billie bennett, c. g. ligon, joe bordeaux and edgar kennedy. edgar kennedy played the restaurant owner .
within a statement released by dublin bay studios in response to the publication of the draft they have said, that the hollywood - style film studio on dublin’s poolbeg peninsula would create 1, 800 direct and 1, 800 indirect jobs for irish creative talent and for local people in dublin’s inner city .
the horkheimer brothers purchased the cmpmc in april 1913. five years later, after a meteoric rise and spectacular heyday, the studio went into receivership, march 25, 1918, stunning the movie business, eventually going up for sale in october 1918. the italicized film companies below belonged to the horkheimer bros .
“we welcome the publication today of the draft poolbeg west planning scheme and the confirmation by dublin city council that it supports commercial uses associated with ‘media, digital media and film production’ within the scheme. we have submitted a detailed proposal to dublin city council and we look forward to continuing to work with all stakeholders to make this vision a reality .
15 .
mabel at the wheel
( 1914) working title :
racing queen
reissued as
a hot finish
. finished or shipped: march 31, 1914. released april 18, 1914. keystone - mutual. 2 reels. directed by mack sennett and mabel normand. starring mabel normand, charlie chaplin, fred mace, joe bordeaux, harry mccoy, mack sennett, al st john, william seiter, minta durfee, alice davenport, chester conklin and edgar kennedy .
23 .
gentlemen of nerve
( 1914) working title :
attending the races
. finished or shipped: october 7, 1914. released: october 29, 1914. keystone - mutual. 1 reel. directed by charles chaplin. also known as
charlie at the races
( 1914) ,
some nerve
( 1914). starring mabel normand, charlie chaplin, chester conklin, mack swain, charlie chase, phyllis allen, slim summerville and edgar kennedy. edgar kennedy played the policeman .
26 .
getting acquainted
( 1914) working title :
the flirts
. 2 reels. finished or shipped: november 22, 1914. released december 5, 1914. keystone - mutual. 1 reel. written and directed by charlie chaplin. also known as
exchange is no robbery
( 1914) ,
fair exchange
( 1914) ,
hello everybody
( 1914) with charlie chaplin, mabel normand, mack swain, phyllis allen, harry mccoy, cecile arnold and edgar kennedy. edgar kennedy played the turk .
1 .
hoffmeyer' s legacy
( 1912) working title :
false alarms
. could be called
the bangville police
date finished or shipped march 17, 1913. released 24 april, 1913. keystone / mack sennett. 1 reel. directed by henry lehrman. the first keystone film with the keystone kops. starring ford sterling, fred mace, nick cogley and edgar kennedy .
…then somewhere out of that tangle of guns a bullet cuts its way. “za - zing! ” i heard it whistle. the splinters cut my face as it hit the camera. it ripped the side open and smashed the little wooden magazine. i sprang crazily to stop it with my hands. but out of the box coiled the precious film. stretching and glistening in the sun, it fell and died .
in 1914, a hollywood motion picture company signed a contract with mexican revolutionary leader pancho villa in which he agreed to fight his revolution according to the studio’s scenario in return for $ 25, 000. the hollywood crew went down to mexico and joined villa’s guerrilla force. the director told pancho villa where and how to fight his battles. the cameraman, since he could only shoot in daylight, made pancho villa start fighting every day at 9: 00 a. m. and stop at 4: 00 p. m. —sometimes forcing villa to cease his real warring until the cameras could be moved to a new angle .
it is true that the statute requires them to be submitted to the board before they are delivered to the exhibitor, but we have seen that the films are shipped to' exchanges' and by them rented to exhibitors, and the' exchanges' are described as' nothing more or less than circulating libraries or clearing houses.' and one film' serves in many theaters from day to day until it is worn out.'
20 .
mabel' s busy day
( 1914) working title :
weine story
finished or shipped: may 30, 1914. released: june 13, 1914. keystone - mutual. 1 reel. directed by charlie chaplin and mabel normand. also known as
charlie and the sausages
( 1914) ,
hot dogs
( 1914) ,
love and lunch
( 1914). starring mabel normand, charlie chaplin, chester conklin, harry mccoy, charlie chase, slim summerville, al st john, billie bennett, wallace macdonald and edgar kennedy. edgar kennedy played one of the cops .
in lemoine’s research, some of the consulted periodicals were british, but most of them were american. since the balboa studio was fully independent and without any long - term connection with a large us exchange company, it must be emphasized that some pictures, including features, never got a national release. some of them were presented in england, but not in the u. s. , while others probably only knew a limited and regional release. for example, this is the case of the first five - reel feature directed by henry king, the brand of man (1915), totally unknown in every periodical listed below, and therefore also unknown in the afi catalog .
aspect ratio: 2. 35: 1; dual - layer. originally released as a motion picture in 2000. special features include: director roland emmerich, producer dean devlin commentary, visual effects interactive featurette, battlefield featurette :
the art of war
, the true patriots featurette, conceptual art to film comparisons, deleted scenes with optional commentary by filmmakers, photo galleries, theatrical trailers, talent files, interactive menus with animation, production notes, scene selection with motion images .
afi catalog, feature films, 1911 - 1920 american film - inde x by einar lauritzen & gunnar lundquist balboa films by jean - jacques jura and rodney norman bardin copyright entries at the library of congress de pathé frères à pathé cinéma (henri bousquet, france) house organs of pathé frères et pathé exchange (u. s. , u. k .), selig, kalem, press clippings from the balboa press (christine burnett, long beach public library) william desmond taylor by bruce long
17 .
caught in a cabaret
( 1914) working title
the waiter
, reissued as
the jazz waiter
. finished or shipped: april 11, 1914. released april 27, 1914. keystone - mutual. 2 reels. directed by mabel normand and charlie chaplin. also known as
faking with society
( 1914) ,
the jazz waiter
( 1914) ,
the waiter
( 1914 )
prime minister charlie
with charlie chaplin, mabel normand, harry mccoy, chester conklin, mack swain, minta durfee, phyllis allen, gordon griffith, hank mann, alice howell, wallace macdonald, joseph swickard, leo white, alice davenport and edgar kennedy. edgar kennedy played the cafe proprietor .
in addition to selling films in ohio, complainant has a film exchange in detroit, michigan, from which it rents or leases large quantities to exhibitors in the latter state and in ohio. the business of that exchange and those in ohio is to purchase films from complainant and other manufacturers of films and rent them to exhibitors for short periods at stated weekly rentals. the amount of rentals depends upon the number of reels rented, the frequency of the changes of subject, and the age or novelty of the reels rented. the frequency of exhibition is described. it is the custom of the business, observed by all manufacturers, that a subject shall be released or published in all theaters on the same day, which is known as release day, and the age or novelty of the film depends upon the proximity of the day of exhibition to such release day. films so shown have never been shown in public, and the public to whom they appeal is therefore unlimited. such public becomes more and more limited by each additional exhibition of the reel .
bousquet, henri. de pathé frères à pathé cinéma: catalogue 1915, 1916, 1917, 1918. paris: édition henri bousquet, 1999. burnett, claudine. program guide: rediscovering long beach’s film heritage. long beach public library, nov. 9, 1996. combes, helen. “bill’s sweetheart. ” the kinetogram. may 1913: 4 & 16. kallan, carla. “pioneer policewoman. ” the fedco reporter. may 12 - 30, 1999: 44. williams, tony. letter to the authors. january 12, 2000 .
the objection to the statute is that it furnishes no standard of what is educational, moral, amusing, or harmless, and hence leaves decision to arbitrary judgment, whim, and caprice; or, aside from those extremes, leaving it to the different views which might be entertained of the effect of the pictures, permitting the' personal equation' to enter, resulting' in unjust discrimination against some propagandist film,' while others might be approved without question. but the statute by its provisions guards against such variant judgments, and its terms, like other
which is vested only in the general assembly of the state, subject to a referendum vote of the people, in that it gives to the board the power to determine the application of the statute without fixing any standard by which the board shall be guided in its determination, and places it in the power of the board, acting with similar boards in other states, to reject, upon any whim or caprice, any film which may be presented, and power to determine the legal status of the foreign board or boards, in conjunction with which it is empowered to act .
the board has demanded of complainant that it submit its films to censorship, and threatens, unless complainant complies with the demand, to arrest any and all persons who seek to place on exhibition any film not so censored or approved by the censor congress on and after november 4, 1913, the date to which the act was extended. it is physically impossible to comply with such demand and physically impossible for the board to censor the films with such rapidity as to enable complainant to proceed with its business, and the delay consequent upon such examination would cause great and irreparable injury to such business, and would involve a multiplicity of suits .
the best solution, as more than one film unit discovered, was to wait for the fighting to die down and then enlist any nearby soldiers to produce a lively but sanitized “reconstruction. ” there were sometimes hidden dangers in this, too—one cameraman, who persuaded a group of soldiers to “fight” some invading americans, only narrowly escaped with his life when the mexicans realized they were being portrayed as cowards being soundly thrashed by the upstanding yankees. feeling “that the honor of their nation was being besmirched, ” the historian margarita de orellana says, “ decided to change the story and defend themselves, firing off a volley of bullets. a real fight then ensued. ”
while the practice of faking footage was widespread throughout the mexican war, and many of the pioneer filmmakers were remarkably open about it in their memoirs, little mention was made of it at the time. indeed, those who flocked to the cinema to see newsreels of the mexican war (which the evidence suggests were among the most popular films of the period) were encouraged to believe they were seeing the real thing—the film companies competed vigorously to advertise their latest reels as unprecedentedly realistic. to take only one example, frank jones’s early war with huerta was billed in moving picture world as “positively the greatest mexican war picture ever made…. do you realize that it is not a posed picture, but taken on the field of action? ”
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jack the ripper comes loping again out of the 1888 london fog in yet another version of his crimes, his motives and his often - surmised, never - proved identity. deadly dull and begging, entry imported from australia dies not of strangulation or slashing but of ennui .
with: cast: patrick bergin, gabrielle anwar, samuel west, michael york, adam couper, essie davis, olivia hamnett, karen davitt, damien pree, stewart morritt, kevin miles, john gregg, frank whitten, peter collingwood, josephine keen, lisle jones, anthony morton, christopher kemp, stephen sheehan, caroline huff, denzil howson, justin parslow, jessica muschamp, david clisby, richie akers, john murphy, sally anne upton, curtis barnott, maureen edwards, suzy cato, peter stratford, peter hardy, shaun murphy, grant smith, dawn klingberg, dean barton - ancliffe, hamish hughes, lawrence price, tim wood, john turner, colin duckworth, michael fry, di diddle, anny fodor, ross mathers, santha press, stephen mcintyre, monty maizels, andrew shortell .
rodat’s simplistic format introduces prince eddie (samuel west), queen victoria’s grandson and eldest son of the prince of wales, as the syphilitic killer who’s taking vengeance on whores. the vidpic displays how dastardly he is by showing him setting his horse afire for throwing him, and indicates fairly graphically how he gets his jollies by knocking off these backwater hookers .
hansen’s superior, famed charles warren (michael york), tries matching hansen with upper - crust beauty lady bookman (essie davis), who falls for him. in charge of the ripper case, hansen runs across witness florry (gabrielle anwar), who, in this fictional account, actually saw the killer going about his business. she screams “fire! , ” but he gets away. while trying to get reluctant mill worker florry to describe jack, hansen starts falling for her. invited to the prestigious benton street club where warren and prince edward hang out, hansen begins getting ideas about the lofty prince eddie .
but under janet meyers’ plodding direction the pace often all but jells. conversational exchanges turn stilted, and there’s little suspense. but there are a few instances when the telepic wakes up, as when prince edward adjusts hansen’s tie. it’s about this time that the prince starts looking consciously dotty .
bergin’s hansen appears businesslike, even as he woos his girl. anwar’s trying - to - be - good florry offers a good bit of spirit. york’s warren suffices, while davis makes evelyn bookman a charmer despite the flat role she’s handed. as for prince eddie, west does the traditional sinking - into - madness routine about as well as can be expected .
thanks to tim ferrier’s appropriate production designs, there’s a sense of period and of class distinctions. lots of appropriate horse - and - carriage views, mahogany cabinet rooms and cobblestone alleyways give the telefilm exactly what audiences expect of late - victorian ambience .
martin mcgrath’s camerawork is good on atmosphere, short on animated setups. elba sanchez - short’s editing is at times abrupt. terry ryan’s costumes are on target, and mason daring’s music remains unobtrusive, except for the happily ominous opening .
the vidpic’s epilogue pretty well cinches eddie for the job of jack the ripper. the meller preceding the tag, though, is scarcely proof; and any telefilm that can make jack the ripper’s story monotonous isn’t very convincing .
production: starz! , sat. dec. 6, 8 p. m .
crew: camera, martin mcgrath; editor, elba sanchez - short; production designer, tim ferrier; art director, michelle mcgahey; costume designer, terry ryan; sound, gary wilkins; music, mason daring; casting, mary gail artz, barbara cohen; liz mullinar (australia); simone ireland, vanessa pereira (great britain). 2 hours .
with: cast: patrick bergin, gabrielle anwar, samuel west, michael york, adam couper, essie davis, olivia hamnett, karen davitt, damien pree, stewart morritt, kevin miles, john gregg, frank whitten, peter collingwood, josephine keen, lisle jones, anthony morton, christopher kemp, stephen sheehan, caroline huff, denzil howson, justin parslow, jessica muschamp, david clisby, richie akers, john murphy, sally anne upton, curtis barnott, maureen edwards, suzy cato, peter stratford, peter hardy, shaun murphy, grant smith, dawn klingberg, dean barton - ancliffe, hamish hughes, lawrence price, tim wood, john turner, colin duckworth, michael fry, di diddle, anny fodor, ross mathers, santha press, stephen mcintyre, monty maizels, andrew shortell .
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nominated for eleven oscars, including five wins. view full award breakdown ...
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variant: minor changes of letter view and arrangement were made through the years .
availability: common. seen on the jackal, primary colors, virus, and the lara croft dilogy, including both the opening and the closing credits .
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10, 015 white 3, 932 hispanic 1, 236 black 2, 747 asian 214 native american 97 hawaiian 1, 904 other 66. 1% white 26. 0% hispanic 8. 2% black 18. 1% asian 1. 4% native american 0. 6% hawaiian 12. 6% other
this location is in los angeles county and the los angeles - long beach - anaheim, ca metropolitan area .
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ellis, david r. 1952 - levinsohn, gary. granger, don. berenson, craig. dalessandro, david. heffernan, john. gutierrez, sebastian. greenberg, adam. rabin, trevor. jackson, samuel l. margulies, julianna, 1966 - phillips, nathan. blanchard, rachel. alexander, flex. thompson, kenan. dallas, keith. shaye, lin. james, bruce. mabrey, sunny .
originally released as a motion picture in 2006. aspect ratio: 2. 35: 1. special features include: interactive menus; scene selection; gag reel; 10 deleted scenes ;
pure venom: making of' snakes on a plane'
featurette ;
meet the reptiles
featurette ;
vfx
featurette ;
snakes on a blog
featurette; audio commentary featuring director david ellis, samuel l. jackson, and others; theatrical trailers; tv spots ;
snakes on a video
cobra starship featurette (includes music video) .
director of photography, adam greenberg; editor, howard e. smith; music, trevor rabin; costume designer, karen l. matthews; production designer, jaymes hinkle .
enhanced dvd; region 1; dolby digital 5. 1 ex surround, dolby digital 2. 0 stereo surround, dts es 6. 1 surround sound. dvd - rom minimum system requirements: interactual - compatible player (included on disc); microsoft windows 98se or later; microsoft ie 5. 5 sp1; macromedia flash player 7; an internet connection; a dvd - rom drive; directshow - compatible dvd decoder .
nelville flynn is escorting a witness on a plane that is bound for los angeles. the problem is that an assassin is bent on killing the witness. the assassin releases a crate containing about 450 deadly snakes onto the same plane. nelville finds out and he becomes bent on doing his job and getting the snakes back where they belong - on land. if the snakes won' t cooperate with nelville, he will just have to send the snakes on to snake heaven .
poisonous snakes - - drama. boidae - - drama. airplanes - - drama. witnesses - - protection - - drama. assassins - - drama. feature films. thrillers (motion pictures, television, etc .) adventure films. horror films. video recordings for the hearing impaired .
even at this early date, there was nothing especially surprising about pancho villa (or anyone else) inking a deal that allowed cameras access to the areas that they controlled. newsreels were a coming force. cinema was growing rapidly in popularity; attendance at nickelodeons had doubled since 1908, and an estimated 49 million tickets were sold each week in the u. s. by 1914. those customers expected to see some news alongside the melodramas and comedy shorts that were the staples of early cinema. and there were obvious advantages in controlling the way in which the newsreel men chose to portray the revolution, particularly for villa, whose main bases were close to the u. s. border .
there was plenty of bias: a contemporary cartoon from the new york times. click to view in higher resolution .
today’s post is an attempt to uncover the truth about this little - known incident–and, as it turns out, it’s a story that is well worth telling, not least because, researching it, i found that tale of villa and his movie contract informs the broader question how just how accurate other early newsreels were. so this is also a post about the borderlands where truth meets fiction, and the problematic lure of the entertaining story. finally, it deals in passing with the odd way that fictions can become real, if they are rooted in the truth and enough people believe them .
there was plenty of bias, most of it in the form of prejudice against mexican “greasers. ” there were conflicts of interest as well. several american media owners had extensive commercial interests in mexico; william randolph hearst, who controlled vast tracts in northern mexico, wasted no time in pressing for u. s. intervention when villa plundered his estates, appropriating 60, 000 head of cattle. and there was eagerness to file ticket - selling, circulation - boosting sensation, too; villa himself was frequently portrayed as “a monster of brutality and cruelty, ” particularly later in the war, when he crossed the border and raided the town of columbus, new mexico .
“battles” innumerable have been fought, scores of armies have been annihilated, wiped out, blown up, massacred and wholly destroyed according to the glowing reports of commanders on either side, but the supply of cannon fodder does not appear to have diminished appreciably…. never was there a war in which more gunpowder went off with less harm to the opposing forces .
pancho villa (seated, in the presidential chair) and emiliano zapata (seated, right, behind sombrero) in the national palace in mexico city, november 1914 .
what is certain is that fierce competition for “news” produced a situation ripe for exploitation. all three of the principal leaders of the period—villa, zapata and the federal generalissimo victoriano huerta —sold access and eventually themselves to u. s. newsmen, trading inconvenience for the chance to position themselves as worthy recipients of foreign aid .
pancho villa, general in command of the constitutionalist army in northern mexico, will in future carry on his warfare against president huerta as a full partner in a moving - picture venture with harry e. aitken…. the business of gen. villa will be to provide moving picture thrillers in any way that is consistent with his plans to depose and drive huerta out of mexico, and the business of mr. aitken, the other partner, will be to distribute the resulting films throughout the peaceable sections of mexico and to the united states and canada.
mutual film company is an american film production company based in hollywood , california . the company was founded by film producers mark gordon and gary levinsohn in 1994 as cloud nine entertainment . mutual is a film financier that was involved in the co-production of feature films . mutual notably co-produced and financed several feature films for paramount pictures and universal studios . 
mutual film company is an american film production company based in hollywood, california. the company was founded by film producers mark gordon and gary levinsohn in 1994 as cloud nine entertainment. mutual is a film financier that was involved in the co-production of feature films. mutual notably co-produced and financed several feature films for paramount pictures and universal studios.
mutual film company is an american film production company based in hollywood, california. the company was founded by film producers mark gordon and gary levinsohn in 1994 as cloud nine entertainment. mutual is a film financier that was involved in the co-production of feature films. mutual notably co-produced and financed several feature films for paramount pictures and universal studios.