Frances Marion was an American screenwriter, journalist and film director cited as one of the most renowned female screenwriter of the 20th century alongside June Mathis and Anita Loos. She was the first writer to win two Academy Awards. Marion began her film career working for filmmaker Lois Weber, she wrote numerous silent film scenarios for actress Mary Pickford, before transitioning to writing sound films. Marion was born Marion Benson Owens in San Francisco, California, to Len D. Minnie Benson, she had an older sister, a younger brother, Len. Her parents divorced when she was 10, she lived with her mother, she dropped out of school at age 12, after having been caught drawing a cartoon strip of her teacher. She transferred to a school in San Mateo and to the Mark Hopkins Art Institute in San Francisco when she was 16 years old. Marion attended this school from 1904 until the school was destroyed by the 1906 San Francisco earthquake. While in San Francisco, Marion worked as a photographer's assistant to Arnold Genthe and experimented with photographic layouts and color film.
She worked for Western Pacific Railroads as a commercial artist as a reporter for the San Francisco Examiner. After moving to Los Angeles, Marion worked as a poster artist for the Morosco Theater as well as an advertising firm doing commercial layouts. In the summer of 1914 she was hired as a writing assistant, an actress and general assistant by Lois Weber Productions, a film company owned and operated by pioneer female film director Lois Weber, she could have been preferred work behind the camera. She learned screenwriting from Weber; when Lois Weber went to work for Universal, she offered to bring Marion with her. Marion decided not to take Weber up on the offer. Soon after, close friend Mary Pickford offered Marion a job at Famous Players-Lasky. Marion accepted, began working on scenarios for films like Fanchon the Cricket, Little Pal, Rags. Marion was cast alongside Pickford in A Girl of Yesterday. At the same time, she worked on an original scenario for Pickford to star in, The Foundling. Marion sold the script to Adolph Zukor for $125.
The film was shot in New York, Moving Picture World gave it a positive pre-release review. But the film negative was destroyed in a laboratory fire. Marion, having traveled from Los Angeles to New York for The Foundling's premiere, applied for work as a writer at World Films and was hired for an unpaid two-week trial. For her first project, she decided to try recutting existing films, shelved as unreleasable. Marion wrote a new prologue and epilogue for a film starring Alice Brady, daughter of World Films boss William Brady; the new portions turned the film from a laughable melodrama into a comedy. The revised film sold for distribution for $9,000, Brady gave Marion a $200/week contract for her writing services. Soon Marion became head of the writing department at World Films, where she was credited with writing 50 films, she left in 1917 when, following the success of The Poor Little Rich Girl, Famous Players-Lasky signed her to a $50,000 a year contract as Mary Pickford's official scenarioist.
Marion was reported at this time to be "one of the highest paid script writers in the business." Her first project under the contract was an adaptation of Rebecca of Sunnybrook Farm. Marion worked as a journalist and served overseas as a combat correspondent during World War I, she documented women's contribution to the war effort on the front lines, became the first woman to cross the Rhine after the armistice. Upon Marion's return from Europe in 1919, William Randolph Hearst offered her $2,000 a week to write scenarios for his Cosmopolitan Productions. Marion shared a house with fellow screenwriter Anita Loos on Long Island. While at Cosmopolitan, Marion wrote an adaptation of Fannie Hurst's Humoresque, her success in adapting the novel and her friendship with Hurst contributed to her decision to adapt another Hurst story, "Superman," for her directorial debut. The resulting film, Just Around the Corner, was a best-seller for the studio. Marion directed The Love Light, starring Mary Pickford.
She won the Academy Award for Writing in 1931 for the film The Big House, she received the Academy Award for Best Story for The Champ in 1932, both featuring Wallace Beery, co-wrote Min and Bill starring her friend Marie Dressler and Beery in 1930. She was credited over 130 produced films. On October 23, 1915, Marion participated in a parade of more than thirty thousand supporters of women's suffrage in New York City. After her success in Hollywood, Marion visited Aetna Springs Resort in Aetna Springs, using it as a personal retreat and bringing several film-industry colleagues with her on vacations; the resort, in fact, was directly connected to her own family's history, for Marion's father had built the resort in the 1870s. Marion was married four times, first to Wesley de Lappe and to Robert Pike, both prior to changing her name. In 1919, she wed Fred Thomson, who co-starred with Mary Pickford in The Love Light in 1921, she was such close friends with Mary Pickford that they honeymooned together when Mary married Douglas Fairbanks and Frances married Fred.
After Thomson's unexpected death from a leg wound in 1928, she married director George W. Hill in 1930, but that marriage ended in divorce in 1933, she had two sons -- Richard Thomson. Frederick earned a PhD in English at Yale, taught there and joined the faculty of the University of North Carolina, he became an editor of the writings of George Eliot, publishing editions of Felix Holt, the Radical in 1980 and later. For many yea
John Chester Brooks Morris was an American stage, film and radio actor. He had some prestigious film roles early in his career, was nominated for an Academy Award. Chester Morris is best remembered today for portraying Boston Blackie, a criminal-turned-detective, in the modestly budgeted Boston Blackie film series of the 1940s. Chester Morris was born John Chester Brooks Morris in New York City, one of four children of Broadway stage actor William Morris and stage comedian Etta Hawkins. Morris dropped out of school and began his Broadway career at 15 years old opposite Lionel Barrymore in The Copperhead, he made his film debut in the silent comedy-drama film An Amateur Orphan. After appearing in several more Broadway productions in the early 1920s, Morris joined his parents and two brothers and Adrian, on the vaudeville circuit; the family's act consisted of a comedy sketch entitled "The Horrors of Home". Morris toured with his family for two years before returning to Broadway with roles in The Home Towners and Yellow.
While appearing in the 1927 play Crime, Morris was spotted by a talent agent and was signed to a film contract. Morris made his sound film debut in the 1929 film Alibi, for which he was nominated for an Academy Award for Best Actor, he followed with roles in Woman Trap, The Case of Sergeant Grischa and The Divorcee, starring Norma Shearer in 1930. That year, Morris was cast as one of the leads in the MGM prison drama The Big House. For the next two years, he worked in films for United Artists and MGM and was cast opposite Jean Harlow in the 1932 comedy-drama Red-Headed Woman. By the mid- to late 1930s, Morris' popularity had begun to wane and he was cast as the lead actor such B-movies as Smashing the Rackets and Five Came Back. In 1941, Morris' career was revived. Morris appeared in a total of 14 Boston Blackie films for Columbia Pictures, beginning with Meet Boston Blackie, he reprised the role of Boston Blackie for the radio series in 1944. During World War II, Morris performed magic tricks in over 350 USO shows.
He was considered a top amateur magician. While appearing in the Boston Blackie series, Morris continued to appear in roles in other films for Pine-Thomas films for Paramount Pictures. After appearing in 1949's Boston Blackie's Chinese Venture, the final Boston Blackie film, Morris retired from films. During the 1950s, he focused on television and theatre, returning to Broadway in 1954 in the comedy The Fifth Season. During this time, Morris appeared in guest spots for the anthology series Cameo Theatre, Lights Out, Tales of Tomorrow, Alcoa Premiere, Danger, Robert Montgomery Presents, The Web, Phillip Morris Playhouse, Studio One, Kraft Television Theatre, he returned to films in 1955 with a role in the prison drama Unchained, followed by a role in the 1956 science-fiction horror film The She-Creature. In 1960, he had recurring role as Detective Lieutenant Max Ritter in the CBS summer replacement series, Diagnosis: Unknown; the series lasted a year. In November 1960, he returned to Broadway as Senator Bob Munson in the stage adaptation of the 1959 novel Advise and Consent.
Morris remained with the production until it closed in May 1961. In October, he reprised his role for the touring production. In the early to mid-1960s, Morris appeared in guest spots for the dramas Route 66, The Defenders, Dr. Kildare. In 1965, he replaced Jack Albertson in the Broadway production of The Subject Was Roses, he reprised his role in the play for the touring production in 1966. In mid-1968, Morris starred opposite Barbara Britton in the touring production of Where Did We Go Wrong?. After the production wrapped, he returned to his home in Manhattan, where his health began to decline. Morris was diagnosed with stomach cancer. Despite his declining health, Morris began work on what was his last film role, as Pop Weaver in the biographical drama The Great White Hope; the film was released after his death. After filming wrapped, Morris joined the stage production of The Caine Mutiny Court Martial at the Bucks County Playhouse in New Hope, Pennsylvania. On September 11, 1970, Lee R. Yopp, the producer and director of Caine, was scheduled to have lunch with Morris.
After Yopp could not reach Morris by phone at his motel room, he went to Morris' room, where he found the actor's body lying on the floor. The county coroner attributed Morris' death to an overdose of barbiturates, his remains were scattered over a German river. Morris was married twice, he first married Suzanne Kilbourne on November 8, 1926. They had John Brooks and Cynthia. Kilbourne was granted an interlocutory divorce in November 1939, finalized on November 26, 1940. On November 30, 1940, Morris married socialite Lillian Kenton Barker at the home of actor Frank Morgan, they had a son, born in 1944. The couple remained married until Morris' death in 1970. Blottner, Gene. Columbia Pictures Movie Series, 1926-1955: The Harry Cohn Years. McFarland. ISBN 0-786-48672-4. Frasier, David K.. Suicide in the Entertainment Industry: An Encyclopedia of 840 Twentieth Century Cases. McFarland. ISBN 0-786-41038-8. Morton, Lisa. Savage Detours: The Life and Work of Ann Savage. McFarland. ISBN 0-786-45706-6. Parish, James Robert.
Hollywood Players: The Thirties. Arlington House. ISBN 0-870-00365-8. Rosen, Fred. Cremation in America. Prometheus Books. ISBN 1-615-92756-5. Young
George F. Marion
George F. Marion Sr. was an American stage actor and director, a film actor and director of two silent films. Marion acted in 35 films between 1915 and 1935, he is best remembered for playing the father Chris Christopherson to the Broadway production of Anna Christie of Pauline Lord and the two film versions of Anna Christie of Blanche Sweet and Greta Garbo. His son George Marion, Jr. was a famous Hollywood screenwriter. Marion died in Carmel, California in 1945, at the age of 85. Excuse Me as Porter Madame X Luke Wins Ye Ladye Faire Anna Christie as Chris Christopherson Clothes Make the Pirate Tumbleweeds The White Monkey The Wise Guy Rolling Home A Texas Steer Loco Luck Anna Christie as Chris Christopherson The Bishop Murder Case as Adolph Drukker The Sea Bat Man to Man Laughing Sinners as Humpty Six Hours to Live Her First Mate Death from a Distance Metropolitan as Papa Perontelli Works by or about George F. Marion at Internet Archive George F. Marion on IMDb George F. Marion at the Internet Broadway Database George F. Marion at Find a Grave
Metro-Goldwyn-Mayer Studios Inc. is an American media company, involved in the production and distribution of feature films and television programs. One of the world's oldest film studios, MGM's headquarters are located at 245 North Beverly Drive in Beverly Hills, California. MGM was founded in 1924 when the entertainment entrepreneur Marcus Loew gained control of Metro Pictures, Goldwyn Pictures, Louis B. Mayer Pictures. In 1971, it was announced that MGM was to merge with 20th Century Fox, but the plan never came to fruition. Over the next 39 years, the studio was bought and sold at various points in its history until, on November 3, 2010, MGM filed for Chapter 11 bankruptcy. MGM emerged from bankruptcy on December 20, 2010, at which time the executives of Spyglass Entertainment, Gary Barber and Roger Birnbaum, became co-chairmen and co-CEOs of the holding company of Metro-Goldwyn-Mayer; as of 2017, MGM co-produces, co-finances, co-distributes a majority of its films with Sony Pictures, Paramount Pictures and Warner Bros.
MGM Resorts International, a Las Vegas-based hotel and casino company listed on the New York Stock Exchange under the symbol "MGM", was created in 1973 as a division of Metro-Goldwyn-Mayer. The company was spun out in 1979, with the studio's owner Kirk Kerkorian maintaining a large share, but it ended all affiliation with Metro-Goldwyn-Mayer in 1986. MGM was the last studio to convert to sound pictures, but in spite of this fact, from the end of the silent film era through the late 1950s, Metro-Goldwyn-Mayer was the dominant motion picture studio in Hollywood. Always slow to respond to the changing legal and demographic nature of the motion picture industry during the 1950s and 1960s, although at times its films did well at the box office, the studio lost significant amounts of money throughout the 1960s. In 1966, MGM was sold to Canadian investor Edgar Bronfman Sr. whose son Edgar Jr. would buy Universal Studios. Three years an unprofitable MGM was bought by Kirk Kerkorian, who slashed staff and production costs, forced the studio to produce low-budget fare, shut down theatrical distribution in 1973.
The studio continued to produce five to six films a year that were released through other studios United Artists. Kerkorian did, commit to increased production and an expanded film library when he bought United Artists in 1981. MGM ramped up internal production, as well as keeping production going at UA, which included the lucrative James Bond film franchise, it incurred significant amounts of debt to increase production. The studio took on additional debt as a series of owners took charge in early 1990s. In 1986, Ted Turner bought MGM, but a few months sold the company back to Kerkorian to recoup massive debt, while keeping the library assets for himself; the series of deals left MGM more in debt. MGM was bought by Pathé Communications in 1990, but Parretti lost control of Pathé and defaulted on the loans used to purchase the studio; the French banking conglomerate Crédit Lyonnais, the studio's major creditor took control of MGM. More in debt, MGM was purchased by a joint venture between Kerkorian, producer Frank Mancuso, Australia's Seven Network in 1996.
The debt load from these and subsequent business deals negatively affected MGM's ability to survive as a separate motion picture studio. After a bidding war which included Time Warner and General Electric, MGM was acquired on September 23, 2004, by a partnership consisting of Sony Corporation of America, Texas Pacific Group, Providence Equity Partners, other investors. In 1924, movie theater magnate Marcus Loew had a problem, he had bought Metro Pictures Corporation in 1919 for a steady supply of films for his large Loew's Theatres chain. With Loew's lackluster assortment of Metro films, Loew purchased Goldwyn Pictures in 1924 to improve the quality. However, these purchases created a need for someone to oversee his new Hollywood operations, since longtime assistant Nicholas Schenck was needed in New York headquarters to oversee the 150 theaters. Approached by Louis B. Mayer, Loew addressed the situation by buying Louis B. Mayer Pictures on April 17, 1924. Mayer became head of the renamed Metro-Goldwyn-Mayer, with Irving Thalberg as head of production.
MGM produced more than 100 feature films in its first two years. In 1925, MGM released the extravagant and successful Ben-Hur, taking a $4.7 million profit that year, its first full year. In 1925, MGM, Paramount Pictures and UFA formed a joint German distributor, Parufamet; when Samuel Goldwyn left he sued over the use of his name. Marcus Loew died in 1927, control of Loew's passed to Nicholas Schenck. In 1929, William Fox of Fox Film Corporation bought the Loew family's holdings with Schenck's assent. Mayer and Thalberg disagreed with the decision. Mayer was active in the California Republican Party and used his political connections to persuade the Justice Department to delay final approval of the deal on antitrust grounds. During this time, in the summer of 1929, Fox was badly hurt in an automobile accident. By the time he recovered, the stock market crash in the fall of 1929 had nearly wiped Fox out and ended any chance of the Loew's merger going through. Schenck and Mayer had never gotten along, the abortive Fox merger increased the animosity between the two men.
From the outset, MGM tapped into the audience's need for sophistication. Having inherited few big names from their predecessor companies and Thalberg began at once
Wallace Fitzgerald Beery was an American film actor. He is best known for his portrayal of Bill in Min and Bill opposite Marie Dressler, as Long John Silver in Treasure Island, as Pancho Villa in Viva Villa!, his titular role in The Champ, for which he won the Academy Award for Best Actor. Beery appeared in some 250 films during a 36-year career, his contract with Metro-Goldwyn-Mayer stipulated in 1932 that he would be paid $1 more than any other contract player at the studio. This made Beery the highest-paid actor in the world, he was uncle of actor Noah Beery Jr.. For his contributions to the film industry, Beery was posthumously inducted into the Hollywood Walk of Fame with a motion pictures star in 1960, his star is located at 7001 Hollywood Boulevard. Beery was born the youngest of three boys in 1885 in Clay County, near Smithville; the Beery family left the farm in the 1890s and moved to nearby Kansas City, where the father was a police officer. Wallace Beery attended the Chase School in Kansas City and took piano lessons as well, but showed little love for academic matters.
He ran away from home twice, the first time returning after a short time, quitting school and working in the Kansas City train yards as an engine wiper. Beery ran away from home a second time at age 16, joined the Ringling Brothers Circus as an assistant elephant trainer, he left two years after being clawed by a leopard. Wallace Beery joined his older brother Noah in New York City in 1904, finding work in comic opera as a baritone and began to appear on Broadway as well as summer stock theatre, he appeared in The Belle of the West in 1905. His most notable early role came in 1907. In 1913, he moved to Chicago to work for Essanay Studios, his first movie was a comedy short, His Athletic Wife. Beery was cast as Sweedie, a Swedish maid character he played in drag in a series of short comedy films from 1914-16. Sweedie Learns to Swim co-starred Ben Turpin. Sweedie Goes to College starred Gloria Swanson. Other Beery films from this period included In and Out, The Ups and Downs, Cheering a Husband, Madame Double X, Ain't It the Truth, Two Hearts That Beat as Ten, The Fable of the Roistering Blades.
The Slim Princess, with Francis X. Bushman, was a feature. Beery did The Broken A Dash of Courage, both with Swanson. Beery was a German soldier in The Little American with Mary Pickford, directed by Cecil B. De Mille, he did some comedies for Mack Sennett, Maggie's First False Step and Teddy at the Throttle, but he would leave that genre and specialize in portrayals of villains prior to becoming a major leading man during the sound era. In 1917 Beery portrayed Pancho Villa in Patria at a time. Beery was a villainous German in The Unpardonable Sin with Blanche Sweet. For Paramount he did The Love Burglar with Wallace Reid. Beery was the villain in five major releases in 1920: 813. Beery continued his villainy cycle that year with The Last of the Mohicans. Beery had a supporting part in The Four Horsemen of the Apocalypse with Rudolph Valentino, he was a villainous Tong leader in A Tale of Two Worlds and was the bad guy again in Sleeping Acres, Wild Honey, I Am the Law, which featured his brother Noah Beery Sr..
Beery had a large then-rare heroic part as King Richard I in Robin Hood, starring Douglas Fairbanks in the titular role. The movie was a huge success and subsequently spawned a sequel the following year starring Beery in the title role. Beery had an important unbilled cameo as "the Ape-Man" in A Blind Bargain starring Lon Chaney Sr. and a supporting role in The Flame of Life. He played King Philip IV of Spain in The Spanish Dancer with Pola Negri. Beery starred in an action melodrama, Stormswept for FBO Films alongside his elder brother, Noah Beery Sr.. The tagline on the movie's posters was "Wallace and Noah Beery - The Two Greatest Character Actors on the American Screen." Beery played his third royal, the Duc de Tours, in Ashes of Vengeance with Norma Talmadge did Drifting with Priscilla Dean for director Browning. Beery had the titular role in Bavu, about the Russian Revolution, he co-starred with Buster Keaton in the comedy Three Ages, the first feature Keaton wrote, produced and starred in.
Beery was a villain in The Eternal Struggle, a Mountie drama, produced by Louis B. Mayer, who would become crucial to Beery's career, he was reunited with Dean and Browning in White Tiger played the title role in the aforementioned Richard the Lion-Hearted, a sequel to Robin Hood based on Sir Walter Scott's The Talisman. Beery was in The Drums of Jeopardy and had a support role in The Sea Hawk for director Frank Lloyd, The Signal Tower. Beery signed a contract with Paramount Pictures, he had a support role in Adv
Hollywood is a neighborhood in the central region of Los Angeles, notable as the home of the U. S. film industry, including several of its historic studios. Its name has come to be a shorthand reference for the people associated with it. Hollywood was incorporated as a municipality in 1903, it was consolidated with the city of Los Angeles in 1910 and soon thereafter, a prominent film industry emerged becoming the most recognizable film industry in the world. In 1853, one adobe hut stood in Nopalera, named for the Mexican Nopal cactus indigenous to the area. By 1870, an agricultural community flourished; the area was known as the Cahuenga Valley, after the pass in the Santa Monica Mountains to the north. According to the diary of H. J. Whitley known as the "Father of Hollywood", on his honeymoon in 1886 he stood at the top of the hill looking out over the valley. Along came a Chinese man in a wagon carrying wood; the man bowed. The Chinese man was asked what he was doing and replied, "I holly-wood," meaning'hauling wood.'
H. J. Whitley decided to name his new town Hollywood. "Holly" would represent England and "wood" would represent his Scottish heritage. Whitley had started over 100 towns across the western United States. Whitley arranged to buy the 480 acres E. C. Hurd ranch, they shook hands on the deal. Whitley shared his plans for the new town with General Harrison Gray Otis, publisher of the Los Angeles Times, Ivar Weid, a prominent businessman in the area. Daeida Wilcox learned of the name Hollywood from Ivar Weid, her neighbor in Holly Canyon and a prominent investor and friend of Whitley's, she recommended the same name to Harvey. H. Wilcox, who had purchased 120 acres on February 1, 1887, it wasn't until August 1887 Wilcox decided to use that name and filed with the Los Angeles County Recorder's office on a deed and parcel map of the property. The early real-estate boom busted at the end of that year. By 1900, the region had a post office, newspaper and two markets. Los Angeles, with a population of 102,479 lay 10 miles east through the vineyards, barley fields, citrus groves.
A single-track streetcar line ran down the middle of Prospect Avenue from it, but service was infrequent and the trip took two hours. The old citrus fruit-packing house was converted into a livery stable, improving transportation for the inhabitants of Hollywood; the Hollywood Hotel was opened in 1902 by H. J. Whitley, a president of the Los Pacific Boulevard and Development Company. Having acquired the Hurd ranch and subdivided it, Whitley built the hotel to attract land buyers. Flanking the west side of Highland Avenue, the structure fronted on Prospect Avenue, still a dusty, unpaved road, was graded and graveled; the hotel was to become internationally known and was the center of the civic and social life and home of the stars for many years. Whitley's company sold one of the early residential areas, the Ocean View Tract. Whitley did much to promote the area, he paid thousands of dollars for electric lighting, including bringing electricity and building a bank, as well as a road into the Cahuenga Pass.
The lighting ran for several blocks down Prospect Avenue. Whitley's land was centered on Highland Avenue, his 1918 development, Whitley Heights, was named for him. Hollywood was incorporated as a municipality on November 14, 1903, by a vote of 88 for and 77 against. On January 30, 1904, the voters in Hollywood decided, by a vote of 113 to 96, for the banishment of liquor in the city, except when it was being sold for medicinal purposes. Neither hotels nor restaurants were allowed to serve liquor before or after meals. In 1910, the city voted for merger with Los Angeles in order to secure an adequate water supply and to gain access to the L. A. sewer system. With annexation, the name of Prospect Avenue changed to Hollywood Boulevard and all the street numbers were changed. By 1912, major motion-picture companies had set up production in Los Angeles. In the early 1900s, most motion picture patents were held by Thomas Edison's Motion Picture Patents Company in New Jersey, filmmakers were sued to stop their productions.
To escape this, filmmakers began moving out west to Los Angeles, where attempts to enforce Edison's patents were easier to evade. The weather was ideal and there was quick access to various settings. Los Angeles became the capital of the film industry in the United States; the mountains and low land prices made Hollywood a good place to establish film studios. Director D. W. Griffith was the first to make a motion picture in Hollywood, his 17-minute short film In Old California was filmed for the Biograph Company. Although Hollywood banned movie theaters—of which it had none—before annexation that year, Los Angeles had no such restriction; the first film by a Hollywood studio, Nestor Motion Picture Company, was shot on October 26, 1911. The H. J. Whitley home was used as its set, the unnamed movie was filmed in the middle of their groves at the corner of Whitley Avenue and Hollywood Boulevard; the first studio in Hollywood, the Nestor Company, was established by the New Jersey–based Centaur Company in a roadhouse at 6121 Sunset Boulevard, in October 1911.
Four major film companies – Paramount, Warner Bros. RKO, Columbia – had studios in Hollywood, as did several minor companies and rental studios. In the 1920s, Hollywood was the fifth-largest industry in the nation. By the 1930s, Hollywood studios became vertically integrated, as production and exhibition was controlled by these companies, enabling Hollywood to produce 600 films per year. H
Cosmopolitan Productions often referred to as Cosmopolitan Pictures, was an American film company based in New York City from 1918 to 1923 and Hollywood until 1938. Newspaper tycoon William Randolph Hearst formed Cosmopolitan in conjunction with Adolph Zukor of Paramount after Hearst's bid for entry into the motion picture business was rebuffed by United Artists; the advantage of Paramount having a production deal with Cosmopolitan was that they had the film rights to stories that had appeared in the wide variety of Hearst's magazines. These included Cosmopolitan magazine as well as Harpers Good Housekeeping, thus the stories arrived pre-sold to the public, who were familiar with them through reading them in Hearst's magazines. Hearst's magazines would advertise and promote his films. For its studio complex, Hearst acquired Sulzer's Harlem River Park and Casino at 126th Street and Second Avenue but a fire on February 18, 1923, destroyed the complex. While shooting Little Old New York with Marion Davies, directed by Sidney Olcott.
The sets had been designed by Joseph Urban. Cosmopolitan promoted the career of Hearst's lover, actress Marion Davies, she appeared in 17 talking films with the company. Due to disagreements with Paramount in the distribution of the Cosmopolitan Pictures in block booking venues, Hearst left Paramount to have his films released by other studios. Starting in 1923, they were distributed or co-produced by Metro-Goldwyn-Mayer until 1934 when a disagreement with Louis B. Mayer over the film Marie Antoinette led Cosmopolitan to go to Warner Bros. Robert G. Vignola is a director associated with Cosmopolitan Productions, he directed several films there, including the extravagant When Knighthood Was in Flower, which at a cost of $1.8 million, was the most expensive picture made. Director King Vidor made three comedies with Cosmopolitan: Show People, The Patsy and Not So Dumb, each starring Davies. One film without Davies was The Mask of Fu Manchu. Other important directors worked with Cosmopolitan, such as John Ford with Young Mr. Lincoln and Howard Hawks with Ceiling Zero.
Cosmopolitan Productions on IMDb