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When the movies were young

Chapter 2: LIST OF ILLUSTRATIONS
By Linda Arvidson
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About This Book

The author offers a firsthand memoir of early motion-picture making at Biograph's New York studio, describing daily studio routines, on-location shoots, wardrobe and publicity practices, and the technical and artistic experiments that shaped narrative film. She recalls the emergence of directors and comedians, the discovery and promotion of performers who became screen attractions, the shift from single-reel shorts to longer films, the move of production to the West Coast, and many personal anecdotes about collaborations, practical challenges, and the social life surrounding early filmmaking.

LIST OF ILLUSTRATIONS

  FACING PAGE
Biograph’s studio, Eleven East Fourteenth Street Frontispiece
“Lawrence” Griffith 6
Linda Arvidson (Mrs. David W. Griffith) 7
Linda Arvidson (Mrs. Griffith), David W. Griffith and Harry Salter, in “When Knights were Bold” 22
Marion Davies, Forrest Stanley, Ruth Shepley and Ernest Glendenning in “When Knighthood was in Flower” 22
Advertising Bulletin for “Balked at the Altar” 23
Biograph Mutoscope of the murder of Stanford White 38
The first Biograph Girl, Florence Lawrence, in “The Barbarian” 39
From “The Politician’s Love Story” 39
The brilliant social world of early movie days 54
“Murphy’s,” where members of Biograph’s original stock company consumed hearty breakfasts 55
From “Edgar Allan Poe” 70
Herbert Pryor, Linda Griffith, Violet Mersereau and Owen Moore in “The Cricket on the Hearth” 70
“Little Mary” portraying the type of heroine that won her a legion of admirers 71
Register of Caudebec Inn at Cuddebackville 71
Caudebec Inn at Cuddebackville 86
From “The Mended Lute,” made at Cuddebackville 86
Frank Powell, Mr. Griffith’s first $10-a-day actor, with Marion Leonard in “Fools of Fate” 86
Richard Barthelmess with Nazimova in “War Brides” 87
From “Wark” to “work,” with only the difference of a vowel 102
Biograph’s one automobile 102
Annie Lee. From “Enoch Arden,” the first two-reel picture 103
Jeanie Macpherson, Frank Grandin, Linda Griffith and Wilfred Lucas in “Enoch Arden” 103
The vessel that was towed from San Pedro. From “Enoch Arden” 103
The Norwegian’s shack. From “Enoch Arden” 103
The most artistic fireside glow of the early days 118
The famous “light effect” 118
From “The Mills of the Gods” 119
Biograph’s first Western studio 119
A desert caravan of the early days 134
From “The Last Drop of Water,” one of the first two-reelers 134
Mabel Normand “off duty” 135
Joe Graybill, Blanche Sweet and Vivian Prescott in “How She Triumphed” 150
Mack Sennett, Mabel Normand and Fred Mace in a “Keystone Comedy” 151
Lunch on the “lot,” Biograph’s “last word” studio, the second year 151
Mary Pickford as a picturesque Indian 166
The Hollywood Inn, the setting for “The Dutch Gold Mine” 167
From “Comrades,” the first picture directed by Mack Sennett 167
Mary Pickford’s first picture, “The Violin Maker of Cremona” 182
Mary Pickford’s second picture, “The Lonely Villa” 182
Mary Pickford and Mack Sennett in “An Arcadian Maid” 183
Mary Pickford, Mack Sennett, Joe Graybill and Marion Sunshine in “The Italian Barber” 183
Linda Griffith and Mr Mackay in “Mission Bells,” a Kinemacolor picture play 198
A rain effect of early days at Kinemacolor’s Los Angeles studio 199
A corner of Biograph’s stylish Bronx studio 214
The beginning of the Griffith régime at 4500 Sunset Boulevard 215
Blanche Sweet and Kate Bruce in “Judith of Bethulia,” the first four-reel picture directed by D. W. Griffith 230
Lillian Russell and Gaston Bell in a scene illustrative of her beauty lectures, taken in Kinemacolor 231
Sarah Bernhardt, the first “Famous Player” 231

WHEN THE MOVIES
WERE YOUNG