Viola Emily Allen was an American stage actress who played leading roles in Shakespeare and other plays, including many original plays. She starred in over two dozen Broadway productions from 1885 to 1916. Beginning in 1915, she appeared in three silent films. Allen was born in Huntsville, Alabama in 1867, the daughter of actors C. Leslie Allen and Sarah Lyon, she moved to Boston at three years of age and moved with her family to Toronto. She was educated at the Bishop Strachan School, her brothers being educated at Trinity College School, Port Hope, Ontario, she attended a boarding school in New York City. Allen had her first stage appearance at the age of 15 at Madison Square Theatre in New York in 1882. Annie Russell, playing the title role in Esmeralda, took ill at one point during the long run. Allen's father was a member of the cast, the theater's stage manager asked if Mr. Allen would allow his daughter to play the part. Allen's debut attracted the attention of actor John McCullough, who made her his leading lady in 1884.
Between the years of 1884 and 1886, she performed in a variety of Shakespearean plays. She performed with the best-known 19th century actors including: Tommaso Salvini, Lawrence Barrett, Joseph Jefferson, William J. Florence, she is best remembered for her roles in Little Lord Fauntleroy. From 1885 to 1916, Allen starred in over two dozen Broadway productions, creating characters in many original plays, she played classical Shakesperean and comedy roles with Salvini, Lawrence Jarrett, Joseph Jefferson and V. J. Florence. In 1898, she created the character of Glory Quayle in Hall Caine's "The Christian." She acted in The Masqueraders, Under the Red Robe, The Christian, In the Palace of the King, Twelfth Night, A Winter's Tale, As You Like It, The Lady of Coventry, others. She played such roles as Virginia, Desdemona, Lydia Languish, Dolores and Roma. Allen starred in the 1915 silent film The White Sister along with Richard Travers; the film was produced by the Essanay Studios and was based on the 1909 play The White Sister, a hit for Allen.
She was married to Peter Duryea from 1905 until his death in 1944. Her last professional appearance was at a benefit supporting war relief, she remained an active supporter of theatrical organizations. She died in New York City, is buried in Sleepy Hollow Cemetery, Sleepy Hollow, New York; the Scales of Justice The White Sister Open Your Eyes Clapp, John Bouvé. Plays of the Present. NY: The Dunlap Society. L. C. Strang, Famous Actresses of the Day in America, Viola Allen on IMDb Viola Allen at AllMovie Viola Allen at the Internet Broadway Database Viola Allen at Find a Grave Viola Allen, portrait gallery at New York Public Library
Samuel Louis "Sam" Warner was an American film producer, the co-founder and chief executive officer of Warner Bros. He established the studio along with his brothers Harry and Jack L. Warner. Sam Warner is credited with procuring the technology that enabled Warner Bros. to produce the film industry's first feature-length talking picture, The Jazz Singer. He died in 1927, the day before the film's enormously successful premiere. Samuel "Wonsal" or "Wonskolaser", was born in Congress Poland under Russian Empire in the village of Krasnosielc, He was one of eleven children born to Benjamin, a shoe maker born in Krasnosielc, Pearl Leah Wonsal/Wonskolaser, he had ten siblings: sisters Cecilia, Rose and Sadie. His brothers were Hirsz Mojżesz, Abraham known as "Al" or "Abe"), Jacob known as "Jack") and Milton; the family immigrated to Baltimore, Maryland in October 1889 on the steamship Hermann from Bremen, Germany. Their father had preceded them, immigrating to Baltimore in 1888, following his trade in shoes and shoe repair.
He changed the family name to Warner, used thereafter. As in many Jewish immigrant families, some of the children acquired anglicized versions of their Yiddish-sounding names. Szmuel became Samuel, nicknamed Sam. In Baltimore, Benjamin Warner struggled to make enough money to provide for his growing family. Following the advice of a friend, Benjamin relocated the family to Canada, where he attempted to make a living by bartering tin wares to trappers in exchange for furs. After two arduous years in Canada and his family returned to Baltimore. In 1896, the family relocated to Youngstown, following the lead of Harry Warner, who established a shoe repair shop in the heart of the emerging industrial town. Benjamin worked with his son Harry in the shoe repair shop until he secured a loan to open a meat counter and grocery store in the city's downtown area; as a child, Sam Warner found himself trying to find work through a range of various odd jobs. Samuel Warner was the first member of his family to move into the entertainment industry.
In the early 1900s, he formed a business partnership with another Youngstown resident and "took over" the city's Old Grand Opera House, which he used as a venue for "cheap vaudeville and photoplays". The venture failed after one summer. Warner secured a job as a projectionist at Idora Park, a local amusement park, he persuaded the family of the new medium's possibilities and negotiated the purchase of a Model B Kinetoscope from a projectionist, "down on his luck". The purchase price was $1,000. Warner's interest in film came after seeing Thomas Edison's The Great Train Robbery while working as an employee at Cedar Point Pleasure Resort in Sandusky, Ohio. During this time, Albert agreed to join Warner and together the two displayed showings of The Great Train Robbery at carnivals throughout the states of Ohio and Pennsylvania. In 1905, Harry Warner sold his Youngstown bicycle shop. Through the money Harry made by selling the bicycle shop, the three brothers were now able to purchase a building in New Castle, Pennsylvania.
The Cascade Movie Palace was so successful that the brothers were able to purchase a second theater in New Castle. This makeshift theatre, called the Bijou, was furnished with chairs borrowed from a local undertaker, they maintained the theater until moving into film distribution in 1907. That year, the Warner brothers established the Pittsburgh-based Duquesne Amusement Company, the three brothers rented an office in the Bakewell building in downtown Pittsburgh. Harry sent Sam Warner to New York to purchase, ship, films for their Pittsburgh exchange company, while he and Albert remained in Pittsburgh to run the business, their business, proved lucrative until the advent of Thomas Edison's Motion Picture Patents Company, which charged distributors exorbitant fees. In 1909, the brothers sold the Cascade Theater for $40,000, decided to open a second film exchange in Norfolk, Virginia. In 1910, the Warners would sell the family business, to the General Film Company, for "$10,000 in cash, $12,000 in preferred stock, payments over a four-year period for a total of $52,000".
In 1910, the Warner brothers moved into film production. After they sold their business, the brothers lent their support to filmmaker Carl Laemmle's Independent Motion Picture Company, which challenged the monopolistic control of the Edison Trust. In 1912, Sam would help the brothers earn a $1,500 profit with his film Dante's Inferno. In the wake of this success, Harry Warner, seeing Edison's monopoly threat grow, decided to break with Laemmle and had the brothers start their own film production company, Warner Features. After this occurred Harry Warner, who now had an office in New York with brother Albert, sent Sam and Jack to establish film exchanges in Los Angeles and San Francisco; the brothers were soon poised to exploit the expanding California movie market. Their fir
Jack L. Warner
Jack Leonard "J. L." Warner, born Jacob Warner, was a Canadian-American film executive, the president and driving force behind the Warner Bros. Studios in Burbank, California. Warner's career spanned some 45 years, its duration surpassing that of any other of the seminal Hollywood studio moguls; as co-head of production at Warner Bros. Studios, he worked with his brother, Sam Warner, to procure the technology for the film industry's first talking picture. After Sam's death, Jack clashed with his surviving older brothers and Albert Warner, he assumed exclusive control of the film production company in the 1950s, when he secretly purchased his brothers' shares in the business after convincing them to participate in a joint sale of stocks. Although Warner was feared by many of his employees and inspired ridicule with his uneven attempts at humor, he earned respect for his shrewd instincts and tough-mindedness, he recruited many of Warner Bros.' Top promoted the hard-edged social dramas for which the studio became known.
Given to decisiveness, Warner once commented, "If I'm right fifty-one percent of the time, I'm ahead of the game."Throughout his career, he was viewed as a contradictory and enigmatic figure. Although he was a staunch Republican, Warner encouraged film projects that promoted the agenda of Democratic President Franklin D. Roosevelt's New Deal, he opposed European fascism and criticized Nazi Germany well before America's involvement in World War II. An opponent of Communism, after the war Warner appeared as a friendly witness before the House Un-American Activities Committee, voluntarily naming screenwriters, fired as suspected Communists or sympathizers. Despite his controversial public image, Warner remained a force in the motion picture industry until his retirement in the early 1970s. Jack Warner was born in London, Ontario, in 1892, his parents were Jewish immigrants from Poland who spoke Yiddish. Jack was the fifth surviving son of Benjamin Warner a cobbler from Krasnosielc and his wife, the former Pearl Leah Eichelbaum.
Following their marriage in 1876, the couple had three children in Poland, one of whom died at a young age. One of the surviving children was Hirsch; the Warner family had occupied a "hostile world", where the "night-riding of cossacks, the burning of houses, the raping of women were part of life's burden for the Jews of the'shtetl'". In 1888, in search of a better future for his family and himself, Benjamin made his way to Hamburg and took a ship to America; the Warner surname was originally "Wonsal" or "Wonskolaser" Upon arriving in New York City, Benjamin introduced himself as "Benjamin Warner", the surname "Warner" remained with him for the rest of his life. Pearl Warner and the couple's two children joined him in Baltimore, less than a year later. In Baltimore, the couple had five more children, including Sam Warner. Benjamin Warner's decision to move to Canada in the early 1890s was inspired by a friend's advice that he could make an excellent living bartering tin wares with trappers in exchange for furs.
Their sons Jack and David were born in Ontario. After two arduous years in Canada and Pearl Warner returned to Baltimore, bringing along their growing family. Two more children and Milton, were added to the household there. In 1896, the family relocated to Youngstown, following the lead of Harry Warner, who established a shoe repair shop in the heart of the emerging industrial town. Benjamin worked with his son Harry in the shoe repair shop until he secured a loan to open a meat counter and grocery store in the city's downtown area. Jack spent much of his youth in Youngstown, he observed in his autobiography. Warner wrote: "J. Edgar Hoover told me that Youngstown in those days was one of the toughest cities in America, a gathering place for Sicilian thugs active in the Mafia. There was a murder or two every Saturday night in our neighborhood, knives and brass knuckles were standard equipment for the young hotheads on the prowl." Warner claimed that he belonged to a street gang based at Westlake's Crossing, a notorious neighborhood located just west of the city's downtown area.
Meanwhile, he received his first taste of show business in the burgeoning steel town, singing at local theaters and forming a brief business partnership with another aspiring "song-and-dance man". During his brief career in vaudeville, he changed his name to Jack Leonard Warner. Jack's older brother Sam disapproved of these youthful pursuits. "Get out front where they pay the actors," Sam Warner advised Jack. "That's where the money is." In Youngstown, the Warner brothers took their first tentative steps into the entertainment industry. In the early 20th century, Sam Warner formed a business partnership with another local resident and "took over" the city's Old Grand Opera House, which he used as a venue for "cheap vaudeville and photoplays"; the venture failed after one summer. Sam Warner secured a job as a projectionist at Idora Park, a local amusement park, he convinced the family of the new medium's possibilities and negotiated the purchase of a Model B Kinetoscope from a projectionist, "down on his luck".
The purchase price was $1,000, Jack Warner contributed $150 to the venture by pawning a horse, according to his obituary. The enterprising brothers screened a well-used copy of The Great Train Robbery throughout Ohio and Pennsylvania before renting a vacant store in New Castle, Pennsylvania; this makeshift theatre, called the Bijou, was furnished with chai
A silent film is a film with no synchronized recorded sound. In silent films for entertainment, the plot may be conveyed by the use of title cards, written indications of the plot and key dialogue lines; the idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. During the silent-film era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or in large cities, a small orchestra—would play music to accompany the films. Pianists and organists would play either from improvisation; the term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies," "sound films," or "talking pictures." Within a decade, the widespread production of silent films for popular entertainment had ceased, the industry had moved into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue and sound effects.
Most early motion pictures are considered lost because the nitrate film used in that era was unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video, it has been claimed that around 75 percent of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data. The earliest precursors to film began with image projection through the use of a device known as the magic lantern, which utilized a glass lens, a shutter, a persistent light source to project images from glass slides onto a wall; these slides were hand-painted, after the advent of photography in the 19th century, still photographs were sometimes used. Thus the invention of a practical photography apparatus preceded cinema by only fifty years; the next significant step toward the invention of cinema was the development of an understanding of image movement. Simulations of movement date as far back as to 1828—only four years after Paul Roget discovered the phenomenon he called "Persistence of Vision."
Roget showed that when a series of still images is shown at a considerable speed in front of a viewer's eye, the images merge into one registered image that appears to show movement. This is an optical illusion, since the image is not moving; this experience was further demonstrated through Roget's introduction of the thaumatrope, a device that spun at a high speed a disk with an image on its surface. The three features necessary for motion pictures to work were "a camera with sufficiently high shutter speed, a filmstrip capable of taking multiple exposures swiftly, means of projecting the developed images on a screen." The first projected proto-movie was made by Eadweard Muybridge between 1877 and 1880. Muybridge set up a row of cameras along a racetrack and timed image exposures to capture the many stages of a horse's gallop; the oldest surviving film was created by Louis Le Prince in 1888. It was a two-second film of people walking in "Oakwood streets" garden, titled Roundhay Garden Scene.
The development of American inventor Thomas Edison's Kinetograph, a photographic device that captured sequential images, his Kinetoscope, a device for viewing those images, allowed for the creation and exhibition of short films. Edison made a business of selling Kinetograph and Kinetoscope equipment, which laid the foundation for widespread film production. Due to Edison's lack of securing an international patent on his film inventions, similar devices were "invented" around the world. In France, for example and Louis Lumière created the Cinématographe, which proved to be a more portable and practical device than both of Edison's as it combined a camera, film processor, projector in one unit. In contrast to Edison's "peepshow"-style kinetoscope, which only one person could watch through a viewer, the cinematograph allowed simultaneous viewing by multiple people, their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first true motion picture. The invention of celluloid film, strong and flexible facilitated the making of motion pictures.
This film was 35 mm wide and was pulled using four sprocket holes, which became the industry standard. This doomed the cinematograph; the art of motion pictures grew into full maturity in the "silent era". The height of the silent era was a fruitful period, full of artistic innovation; the film movements of Classical Hollywood as well as French Impressionism, German Expressionism, Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era; the silent era was a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s; some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors and production staff adapted to the new "talkies" around the late 1930s.
Warner Bros. Entertainment Inc. referred to as Warner Bros. and abbreviated as WB, is an American entertainment company headquartered in Burbank, California and a subsidiary of AT&T's WarnerMedia. Founded in 1923, it has operations in film and video games and is one of the "Big Five" major American film studios, as well as a member of the Motion Picture Association of America; the company's name originated from the four founding Warner brothers: Harry, Albert and Jack Warner. Harry and Sam emigrated as young children with their parents to Canada from Krasnosielc, Poland. Jack, the youngest brother, was born in Ontario; the three elder brothers began in the movie theater business, having acquired a movie projector with which they showed films in the mining towns of Pennsylvania and Ohio. In the beginning and Albert Warner invested $150 to present Life of an American Fireman and The Great Train Robbery, they opened their first theater, the Cascade, in New Castle, Pennsylvania, in 1903. When the original building was in danger of being demolished, the modern Warner Bros. called the current building owners, arranged to save it.
The owners noted people across the country had asked them to protect it for its historical significance. In 1904, the Warners founded the Pittsburgh-based Duquesne Amusement & Supply Company, to distribute films. In 1912, Harry Warner hired. By the time of World War I they had begun producing films. In 1918 they opened the first Warner Brothers Studio on Sunset Boulevard in Hollywood. Sam and Jack produced the pictures, while Harry and Albert, along with their auditor and now controller Chase, handled finance and distribution in New York City. During World War I their first nationally syndicated film, My Four Years in Germany, based on a popular book by former ambassador James W. Gerard, was released. On April 4, 1923, with help from money loaned to Harry by his banker Motley Flint, they formally incorporated as Warner Bros. Pictures, Incorporated; the first important deal was the acquisition of the rights to Avery Hopwood's 1919 Broadway play, The Gold Diggers, from theatrical impresario David Belasco.
However, Rin Tin Tin, a dog brought from France after World War I by an American soldier, established their reputation. Rin Tin Tin debuted in the feature; the movie was so successful. Rin Tin Tin became the studio's top star. Jack nicknamed him "The Mortgage Lifter" and the success boosted Darryl F. Zanuck's career. Zanuck became a top producer and between 1928 and 1933 served as Jack's right-hand man and executive producer, with responsibilities including day-to-day film production. More success came. Lubitsch's film The Marriage Circle was the studio's most successful film of 1924, was on The New York Times best list for that year. Despite the success of Rin Tin Tin and Lubitsch, Warner's remained a lesser studio. Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummel; the film was so successful. By the end of 1924, Warner Bros. was arguably Hollywood's most successful independent studio, where it competed with "The Big Three" Studios. As a result, Harry Warner—while speaking at a convention of 1,500 independent exhibitors in Milwaukee, Wisconsin—was able to convince the filmmakers to spend $500,000 in newspaper advertising, Harry saw this as an opportunity to establish theaters in cities such as New York and Los Angeles.
As the studio prospered, it gained backing from Wall Street, in 1924 Goldman Sachs arranged a major loan. With this new money, the Warners bought the pioneer Vitagraph Company which had a nationwide distribution system. In 1925, Warners' experimented in radio, establishing a successful radio station, KFWB, in Los Angeles. Warner Bros. was a pioneer of films with synchronized sound. In 1925, at Sam's urging, Warner's agreed to add this feature to their productions. By February 1926, the studio reported a net loss of $333,413. After a long period denying Sam's request for sound, Harry agreed to change, as long as the studio's use of synchronized sound was for background music purposes only; the Warners signed a contract with the sound engineer company Western Electric and established Vitaphone. In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore; the film was silent. To hype Don Juan's release, Harry acquired the large Piccadilly Theater in Manhattan, New York City, renamed it Warners' Theatre.
Don Juan premiered at the Warners' Theatre in New York on August 6, 1926. Throughout the early history of film distribution, theater owners hired orchestras to attend film showings, where they provided soundtracks. Through Vitaphone, Warner Bros. produced eight shorts in 1926. Many film production companies questioned the necessity. Don Juan did not recoup its production cost and Lubitsch left for MGM. By April 1927, the Big Five studios had ruined Warner's, Western Electric renewed Warner's Vit
In films, an intertitle is a piece of filmed, printed text edited into the midst of the photographed action at various points. Intertitles used to convey character dialogue are referred to as "dialogue intertitles", those used to provide related descriptive/narrative material are referred to as "expository intertitles". In modern usage, the terms refer to similar text and logo material inserted at or near the start of films and television shows. In this era intertitles were always called "subtitles" and had Art Deco motifs, they were a mainstay of silent films once the films became of sufficient length and detail to necessitate dialogue and/or narration to make sense of the enacted or documented events. The British Film Catalogue credits the 1898 film Our New General Servant by Robert W. Paul as the first British film to use intertitles. Film scholar Kamilla Elliott identifies another early use of intertitles in the 1901 British film Scrooge, or, Marley's Ghost; the first Academy Awards presentation in 1929 included an award for "Best Title Writing" that went to Joseph W. Farnham for no specific film.
The award was never given again, as intertitles went out of common use due to the introduction of "talkies". In modern use, intertitles are used to supply an epigraph, such as a poem, or to distinguish various "acts" of a film or multimedia production by use as a title card. However, they are most used as part of a historical drama's epilogue to explain what happened to the depicted characters and events after the conclusion of the story proper; the development of the soundtrack eliminated their utility as a narrative device, but they are still used as an artistic device. For instance, intertitles were used as a gimmick in Frasier; the BBC's drama Threads uses them to give location and information on distant events beyond Sheffield. Law & Order and its related spinoffs used them to give not only the location, but the date of the upcoming scene. Guy Maddin is a modern filmmaker known for recreating the style of older films, uses intertitles appropriately; some locally produced shows, such as quiz bowl game shows, use animated variations of intertitles to introduce the next round.
Intertitles have had a long history in the area of amateur film as well. The efforts of home movie aficionados to intertitle their works post-production have led to the development of a number of innovative approaches to the challenge. Lacking access to high quality film dubbing and splicing equipment, amateur film makers must plan ahead when making a film to allow space for filming an intertitle over the existing film. Intertitles may be printed neatly on a piece of paper, a card, or a piece of cardboard and filmed, or they may be formed from adhesive strips and affixed to glass. In the early 1980s, digital recording technology improved to the point where intertitles could be created in born-digital format and recorded directly onto the film. Several specialty accessories from this period such as Sony's HVT-2100 Titler and cameras such as Matsushita's Quasar VK-743 and Zenith VC-1800 could be used to generate intertitles for home movies. Early 1980s video game consoles and applications catering to the demo scene were adapted for the generation and recording of intertitles for home films.
Among these were included the ColecoVision, the Magnavox Odyssey², the Bally Astrocade, the intertitle-specialized Famicom Titler. Acknowledgment Billing Character generator Closing credits Credit Digital on-screen graphic Lower third Opening credits Subtitle Supertitle Title sequence WGA screenwriting credit system
Ben Lyon was an American film actor and a studio executive at 20th Century Fox, who acted in British radio, films and TV. Lyon was born in Atlanta, the son of Alvine W. and Ben Lyon, a travelling salesman. His family was Jewish. Lyon entered films in 1918 after a successful appearance on Broadway opposite Jeanne Eagels, he attracted attention in the successful film Flaming Youth, developed into a leading man. He was most paired with some of the leading actresses of the silent era including Pola Negri, Gloria Swanson, Colleen Moore, Barbara La Marr, Viola Dana, Anna Q. Nilsson, Mary Astor and Blanche Sweet. In 1925, a writer for Photoplay wrote of him, "Girls, Ben Lyon looks harmless but we have reliable information that he’s irresistible, so watch your step. Besides he’s a mighty fine actor and if the ladies must fall in love with him he can’t help it."He had success as an actor in the 1930 film Hell's Angels. The film was a major success and brought Jean Harlow to prominence, but Lyon's performance as an heroic World War I aviator was highly regarded.
For the next decade he was in demand, but his popularity began to wane by the early 1940s. By the mid-1940s he was working for 20th Century Fox. On July 17, 1946 he met a young aspiring actress named Norma Jeane Dougherty. After his first meeting with her he stated that she was "Jean Harlow all over again!". He organized a color screen test for the actress, renamed her, signed her as Marilyn Monroe to her first studio contract. During World War II, when the United States was still neutral and his wife, actress Bebe Daniels, settled in London; the couple, along with the comedian Vic Oliver, starred in the radio series Hi, Gang!, which ran from 1940 to 1949. Hi Gang was succeeded in 1950 by Life with the Lyons, which featured their real life son Richard and daughter Barbara, had a run on BBC and independent television from 1954 until 1960, he was the subject of This Is Your Life in March 1963 when he was surprised by Eamonn Andrews at the BBC Television Theatre. Lyon married actress Bebe Daniels in June 1930.
They had two children: daughter Barbara in 1932 and a son Richard whom they adopted from a London orphanage. In an issue of the contemporary magazine Radio Pictorial, Bebe explained how she saw Richard peering through the railings and thought "A brother for Barbara". Daniels withdrew from public life, she suffered a second stroke in late 1970. She died at the couple's London home in March 1971. On 1 April 1972, Lyon married the actress Marian Nixon, they remained married until his death. On March 22, 1979, Lyon and his second wife Marian Nixon were vacationing together on the Queen Elizabeth 2 cruise ship near Honolulu, when Lyon suffered a fatal heart attack, he was 78 years old. He is interred in the Chapel Columbarium at Hollywood Forever Cemetery next to his first wife, Bebe Daniels. For his contribution to the motion picture industry, Ben Lyon has a star on the Hollywood Walk of Fame at 1724 Vine Street. A biography Bebe and Ben was written by a personal friend who worked with them at the BBC, Jill Allgood.
Allgood, Jill. Bebe and Ben. Robert Hale & Co. ISBN 0-709-14942-5. Daniels, Bebe. Life with the Lyons, the Autobiography of Bebe Daniels and Ben Lyon. Odhams Press. ASIN B0000CIGNZ. Ben Lyon on IMDb Ben Lyon at the Internet Broadway Database Photographs of Ben Lyon and bibliography BBC Desert Island Discs Ben Lyon's appearance on This Is Your Life