Frank Russell Capra was an Italian American film director and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the "American Dream personified."Capra became one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations, along with three other Oscar wins from nine nominations in other categories. Among his leading films were It Happened One Night, You Can't Take It with You, Mr. Smith Goes to Washington. During World War II, Capra served in the U. S. Army Signal produced propaganda films, such as the Why We Fight series. After World War II, Capra's career declined as his films, such as It's a Wonderful Life, performed poorly when they were first released. In ensuing decades, however, It's a Wonderful Life and other Capra films were revisited favorably by critics.
Outside of directing, Capra was active in the film industry, engaging in various political and social issues. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, was head of the Directors Guild of America. Capra was born Francesco Rosario Capra in a village near Palermo, Sicily, he was the youngest of seven children of Salvatore Capra, a fruit grower, the former Rosaria "Serah" Nicolosi. Capra's family was Roman Catholic; the name "Capra", notes Capra's biographer Joseph McBride, represents his family's closeness to the land, means "goat". He notes that the English word "capricious" derives from it, "evoking the animal's skittish temperament", adding that "the name neatly expresses two aspects of Frank Capra's personality: emotionalism and obstinacy."In 1903, when he was five, Capra emigrated to the United States with his family, who traveled in one of the steerage compartments of the steamship, the cheapest way to book passage.
For Capra, the journey, which took 13 days, remained in his mind for the rest of his life as one of his worst experiences: You're all together—you have no privacy. You have a cot. Few people have trunks or anything that takes up space, they have just what they can carry in a bag. Nobody takes their clothes off. There's no ventilation, it stinks like hell. They're all miserable. It's the most degrading place you could be. Capra remembers the ship's arrival in New York Harbor, where he saw "a statue of a great lady, taller than a church steeple, holding a torch above the land we were about to enter", he recalls his father's exclamation at the sight: Ciccio, look! Look at that! That's the greatest light since the star of Bethlehem! That's the light of freedom! Remember that The family settled in Los Angeles's East Side, which Capra described in his autobiography as an Italian "ghetto". Capra's father worked as a fruit picker and young Capra sold newspapers after school for 10 years, until he graduated from high school.
Instead of working after graduating, as his parents wanted, he enrolled in college. He worked through college at the California Institute of Technology, playing banjo at nightclubs and taking odd jobs, which included working at the campus laundry facility, waiting tables, cleaning engines at a local power plant, he studied chemical engineering and graduated in the spring of 1918. Capra wrote that his college education had "changed his whole viewpoint on life from the viewpoint of an alley rat to the viewpoint of a cultured person". Soon after graduating college, Capra was commissioned in the United States Army as a second lieutenant, having completed campus ROTC. In the Army, he taught mathematics to artillerymen at San Francisco, his father died during the war in an accident. In the Army, Capra contracted Spanish flu and was medically discharged to return home to live with his mother, he became a naturalized U. S. citizen in 1920, taking the name Frank Russell Capra. Living at home with his siblings and mother, Capra was the only family member with a college education, yet he was the only one who remained chronically unemployed.
After a year without work, seeing how his siblings had steady jobs, he felt he was a failure, which led to bouts of depression and abdominal pains discovered to have been an undiagnosed burst appendix. After recovering at home, Capra moved out and spent the next few years living in flophouses in San Francisco and hopping freight trains, wandering the Western United States. To support himself, he took odd jobs on farms, as a movie extra, playing poker, selling local oil well stocks. In his early twenties, Capra had to undergo a circumcision due to recurring bouts of STIs, which caused severe damage to his sex life, an affliction that lasted until his twilight years, it was during this time that the 24-year-old Capra directed a 32-minute documentary film titled La Visita Dell'Incrociatore Italiano Libya a San Francisco. Not only did it document the visit of the Italian naval vessel Libya to San Francisco, but the reception given to the crew of the ship by San Francisco's L'Italia Virtus Club, now known as the San Francisco Italian Athletic Club.
At 25, Capra took a job selling books published by American philosopher, Elbert Hubbard. Capra recalled that he "hated being a peasant, being a scrounging new kid trapped in the Sicilian
Zenas Winsor McCay was an American cartoonist and animator. He is best known for the animated film Gertie the Dinosaur. For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend. From a young age, McCay was a quick and technically dextrous artist, he started his professional career making posters and performing for dime museums, in 1898 began illustrating newspapers and magazines. In 1903 he joined the New York Herald, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905 his signature strip Little Nemo in Slumberland debuted—a fantasy strip in an Art Nouveau style about a young boy and his adventurous dreams; the strip demonstrated mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page and sizing panels to increase impact and enhance the narrative. McCay produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit.
McCay was an early animation pioneer. The first three served in his vaudeville act. McCay and his assistants worked for twenty-two months on his most ambitious film, The Sinking of the Lusitania, a patriotic recreation of the German torpedoing in 1915 of the RMS Lusitania. Lusitania did not enjoy as much commercial success as the earlier films, McCay's movies attracted little attention, his animation and comic strip work was curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations. In his drawing, McCay made bold, prodigious use of linear perspective in detailed architecture and cityscapes, he textured his editorial cartoons with copious fine hatching, made color a central element in Little Nemo. His comic strip work has influenced generations of illustrators; the technical level of McCay's animation—its naturalism and scale—was unmatched until the work of Fleischer Studios in the late 1920s, followed by Walt Disney's feature films in the 1930s.
He pioneered inbetweening, the use of registration marks and other animation techniques that were to become standard. McCay's paternal grandparents, farmers Donald and Christiana McKay, immigrated from Scotland to Upper Canada in the mid-1830s. McCay's father, Robert McKay was born in the third of six children. McCay's maternal grandparents and Mary Murray, were Scottish immigrants, settled as farmers in East Zorra in Upper Canada, their daughter Janet was the third of nine children. Robert was a member of King Solomon's No. 43 Masonic Lodge in Woodstock. In 1862, Robert first traveled to the U. S. Robert and the twenty-five-year-old Janet married on January 8, 1866, at Woodstock's Methodist Episcopal Church; the couple moved across the Canada–US border in the year and settled in Spring Lake, Michigan, on the eastern coast of Lake Michigan. Robert was employed by American entrepreneur Zenas G. Winsor, with whom he had made contact in Canada. Records of McCay's birth are not extant, he stated in an interview in 1910 that he was born in 1869, this is the year listed on his grave marker.
Late in life, he told friends he was born September 26, 1871, in Spring Lake, they published this information in a magazine. Michigan census records from 1870 and 1880 list a Zenas W. McKay, born in Canada in 1867, others have speculated 1866 or 1868 based on evidence on how the censuses were carried out. No Canadian birth record has been found, a fire in Spring Lake in May 1893 could have destroyed any American birth record he may have had, his obituary in the New York Herald Tribune stated, "not Mr. McCay knew his exact age"; the McCays had two more children: Arthur in 1868, Mae in 1876. Both were born in Michigan. Robert worked as a teamster under Winsor, by May 1870 had saved enough money to buy a parcel of land. From 1879 to 1881, he worked as a retail grocer. In 1885 he moved the family to Stanton and expanded his land holdings. By 1905, Robert was a notary public, he had settled in Edmore, by this point had changed the spelling of his surname from "McKay" to "McCay". His son related this story about the change: Three Scotsmen of the clan McKay were looking for a fourth member to fight four members of the Irish clan Magee...'I'm not one of you', my father pointed out.'You see, I'm one of the clan M-c-C-A-Y.'
And, how I got both my name and my sense of humor. McCay came to be known by Winsor, his drawing skills emerged early. According to a story told within the family, McCay made his first drawing in the aftermath of one of the many fires that hit Spring Lake: he picked up a nail and etched the scene of the fire in the frost of a windowpane. Drawing became obsessive for him, he was able to draw from memory things he had never before drawn—what McCay called "memory sketching". His father thought little of his son's artistic talents and had him sent to Cleary Business College in Ypsilanti, Michigan. McCay attended classes, he bragged about how he would catch the train to Detroit to show o
Valencia, Santa Clarita, California
Valencia is a neighborhood in Santa Clarita located within Los Angeles County, California. It is in the northwestern corner of the Santa Clarita Valley east of Interstate 5. Most of Valencia is part of a planned community. In 1769, the Spanish Portola expedition, first Europeans to see inland areas of California, came up and over the pass from the San Fernando Valley and camped near the river on August 8–9, they witnessed a wedding celebration. Fray Juan Crespi, a Franciscan missionary travelling with the expedition, named the river Santa Clara and noted in his diary that the place would be a good location for a mission. On the return trip, the party found a less strenuous trail through Conejo Valley. Travelers preferred that route, Mission San Fernando Rey de España was established down in the valley; the master planned portion of Valencia was first planned in the 1960s by the Newhall Land and Farming Company. Development began in 1967, continues to the present day, is nearing completion. Valencia is notable for its landscaped boulevards connecting a mix of apartment buildings, single-family detached homes, shopping centers, office parks and industrial warehouses.
Major schools in Santa Clarita include California Institute of the Arts, College of the Canyons, Hart High School, West Ranch High School, Saugus High School, Canyon High School, Golden Valley High School and Valencia High School. Valencia's residential areas are separated into each with its own lifestyle. All of Valencia's villages are close to schools, etc. In many of the villages, homeowner associations oversee the quality and upkeep of housing developments ranging in size from a few dozen homes to over a thousand. Many villages have a neighborhood watch program in force. Valencia has a system of paved pathways over or under the streets and boulevards; the pathways are called paseos. They connect the entire community, making it possible to travel throughout nearly all of Valencia on foot or by bicycle without crossing a street at grade level; the paseo network is connected to the Santa Clara River Trail which runs east along the Santa Clara River to Canyon Country. As of 2010, the estimated population of the 91354 ZIP code was 28,722 and the estimated median household income was $111,098.
ZIP code 91385 has no population or median income. Valencia is home to the Six Flags Magic Mountain theme park. Aaron Bummer, Major League Baseball pitcher Annett Davis, beach volleyball player Anthony Ervin, 4-time Olympic gold medalist swimmer and 2-time world champion Taylor Lautner, actor Naya Rivera, actress Michael Trevino, actor Shane Vereen, professional football player Tamara Witmer, model Infest, hardcore punk band Greater Los Angeles portal
Oswald the Lucky Rabbit
Oswald the Lucky Rabbit is an anthropomorphic rabbit and animated cartoon character created by Walt Disney for cartoon animal films and distributed by Universal Studios in the 1920s and 1930s, serving as the Disney studio's first animated character to feature in their own series. A total of 27 animated Oswald one-reelers were produced at Walt Disney Animation Studios. In 1928, Charles Mintz took the rights of Oswald from Walt Disney and claimed Oswald as an official Universal Studios character. In November 1928, as a replacement to compete with Oswald the Lucky Rabbit, Walt Disney and Ub Iwerks created Mickey Mouse for the Walt Disney Studio. In 2003, Buena Vista Games pitched a concept for an Oswald-themed video game to Disney President and COO Bob Iger, who became committed to bringing Oswald back to Disney. In 2006, nearly 80 years after the Disney studio broke away from Universal, The Walt Disney Company managed to acquire the intellectual property of Oswald and the catalog of Disney-produced Oswald films.
Oswald returned to prominence in Epic Mickey. The game's metafiction plot parallels Oswald's real-world history, dealing with the character's feelings of abandonment by Disney, envy towards Mickey Mouse, he has since appeared in Disney theme parks and comic books, as well as two follow-up games, Epic Mickey 2: The Power of Two and Epic Mickey: Power of Illusion. Oswald made his first appearance in a Disney animated production in 85 years through his cameo appearance in the 2013 animated short Get a Horse!. He was the subject of the 2015 feature film Walt Before Mickey. Oswald appears as a townsperson in Disney Infinity 2.0. During his days under Disney, Oswald was one of the first cartoon characters; as outlined by Walt himself: "Hereafter we will aim to Oswald a younger character, alert and venturesome, keeping him neat and trim." With Oswald, Disney began to explore the concept of "personality animation", in which cartoon characters were defined as individuals through their movements and acting, instead of through their design.
Around this period, Disney had expressed, "I want the characters to be somebody. I don't want them just to be a drawing." Not only were gags used, but his humor differed in terms of what he used to make people laugh. He presented physical humor, used situations to his advantage, presented situational humor in general and frustration comedy best shown in the cartoon The Mechanical Cow, he would make use of animal limbs to solve problems and use his own limbs as props and gags. He could turn anything into tools, his distinct personality was inspired by Douglas Fairbanks for his courageous and adventurous attitude as seen in the cartoon short Oh, What a Knight. In regards to Oswald's personality, Disney historian David Gerstein highlights the distinct differences between Mickey and Oswald as thus: In order to make his Oswald cartoons look "real", Disney turned away from the styles of Felix the Cat, Koko the Clown and Krazy Kat and began emulating the camera angles and editing of live-action films.
To learn how to base gags on personality and how to build comic routines, rather than heaping one gag after another, he studied Laurel and Hardy, Harold Lloyd, Charlie Chaplin and Buster Keaton. In order to stir emotion in an audience, Disney studied and scrutinized the shadow effects, cross-cutting and staging of action in films featuring Douglas Fairbanks and Lon Chaney. Walt Disney did not want for Oswald to be "a rabbit character animated and shown in the same light as the known cat characters", as well as just a peg for gags. Instead, his stated intention was "to make Oswald peculiarly and OSWALD." In 1927, because of cost and technical restrictions and his chief animator Ub Iwerks decided to end their work on the Alice Comedies series in search of new creative opportunities. Coincidentally, Universal Studios wanted to get into the cartoon business and needed a cartoon character of its own. So Disney's distributor Charles Mintz told Disney and Iwerks to create a new character they could sell to Universal.
Wanting to make cartoons with an all-animated look, Disney signed a contract with Universal Studios leading to the creation of Oswald the Lucky Rabbit and Universal's first cartoon series. Work on both the character and series began. Disney chose to make the character a rabbit since there were two popular animated cats at the time, Felix the Cat and Krazy Kat. Universal was given the right to name the rabbit and it selected a name out of a hat; the first Oswald cartoon, Poor Papa, was rejected by the Universal studio heads for its poor production quality and the sloppiness and age of Oswald. Disney, together with Iwerks, decided to create a second cartoon titled Trolley Troubles featuring a much younger, neater Oswald; the short, released on September 5, 1927 launched the series and proved to be Disney's greatest success to date. The storyline for Poor Papa was reused in a Mickey Mouse short six years in Mickey's Nightmare, 1932. Oswald the Lucky Rabbit became Disney's first major hit in 1927, rivaling other popular cartoon characters, such as Felix the Cat and Koko the Clown.
The success of the Oswald series allowed the Walt Disney Studio to grow to a staff of nearly twenty. Walt's weekly salary from the series was $100 while Roy Disney's was $65; the Disney brothers earned $500 per Oswald short and split the year-end profits, with Walt receiving 60%
Gertie the Dinosaur
Gertie the Dinosaur is a 1914 animated short film by American cartoonist and animator Winsor McCay. It is the earliest animated film. McCay first used the film before live audiences as an interactive part of his vaudeville act. McCay's employer William Randolph Hearst curtailed McCay's vaudeville activities, so McCay added a live-action introductory sequence to the film for its theatrical release. McCay abandoned a sequel, Gertie on Tour, after producing about a minute of footage. Although Gertie is popularly thought to be the earliest animated film, McCay had earlier made Little Nemo and How a Mosquito Operates; the American J. Stuart Blackton and the French Émile Cohl had experimented with animation earlier. Gertie was the first film to use animation techniques such as keyframes, registration marks, tracing paper, the Mutoscope action viewer, animation loops, it influenced the next generation of animators such as the Fleischer brothers, Otto Messmer, Paul Terry, Walt Disney. John Randolph Bray unsuccessfully tried to patent many of McCay's animation techniques and is said to have been behind a plagiarized version of Gertie that appeared a year or two after the original.
Gertie is the best preserved of McCay's films—some of which have been lost or survive only in fragments—and has been preserved in the U. S. Library of Congress' National Film Registry as being "culturally or aesthetically significant" in 1991. Winsor McCay had worked prolifically as a commercial artist and cartoonist by the time he started making newspaper comic strips such as Dream of the Rarebit Fiend and his signature strip Little Nemo. In 1906, McCay began performing on the vaudeville circuit, doing chalk talks—performances in which he drew before live audiences. Inspired by the flip books his son brought home, McCay "came to see the possibility of making moving pictures" of his cartoons, he claimed that he "was the first man in the world to make animated cartoons", though he was preceded by the American James Stuart Blackton and the French Émile Cohl. McCay's first film starred his Little Nemo characters and debuted in movie theatres in 1911, he followed it in 1912 with How a Mosquito Operates, in which a giant, naturalistically animated mosquito sucks the blood of a sleeping man.
McCay gave the mosquito a personality and balanced humor with the horror of the nightmare situation. His animation was criticized as being so lifelike that he must have traced the characters from photographs or resorted to tricks using wires. McCay conferred with the American Historical Society in 1912, announced plans for "the presentation of pictures showing the great monsters that used to inhabit the earth", he spoke of the "educational work" that the animation process could enable. McCay had earlier introduced dinosaurs into his comic strip work, such as a March 4, 1905, episode of Dream of the Rarebit Fiend in which a Brontosaurus skeleton took part in a horse race, a May 25, 1913, Rarebit Fiend episode in which a hunter unsuccessfully targets a dinosaur. In the September 21, 1913, episode of McCay's Little Nemo strip In the Land of Wonderful Dreams, titled "In the Land of the Antediluvians", Nemo meets a blue dinosaur named Bessie which has the same design as that of Gertie. McCay considered a number of names before settling on "Gertie".
Disney animator Paul Satterfield recalled hearing McCay in 1915 relate how he had chosen the name "Gertie": He heard a couple of "sweet boys" out in the hall talking to each other, one of them said, "Oh, wait a minute!" in a sweet voice. He thought it was a good name, but wanted it to be a girl's name instead of a boy's, so he called it "Gertie". Gertie the Dinosaur is the earliest animated film, its star Gertie does tricks much like a trained elephant. She is animated in a naturalistic style unprecedented for the time. McCay imbued her with a personality—while friendly, she could be capricious, ignoring or rebelling against her master's commands; when her master McCay calls her, the frisky, childlike Gertie appears from a cave. Her whip-wielding master has her do tricks such as bowing on command; when she feels she has been pushed too far, she nips back at her master. She cries when he scolds her, he placates her with a pumpkin. Throughout the act, prehistoric denizens such as a flying lizard continually distract Gertie.
She tosses a mammoth in the lake. After she quenches her thirst by draining the lake, McCay has her carry him offstage while he bows to the audience. Gertie was McCay's first piece of animation with detailed backgrounds. Main production began in mid-1913. Working in his spare time, McCay drew thousands of frames of Gertie on 6 1⁄2-by-8 1⁄2-inch sheets of rice paper, a medium good for drawing as it did not absorb ink, as it was translucent it was ideal for the laborious retracing of backgrounds, a job that fell to art student neighbor John A. Fitzsimmons; the drawings themselves occupied a 6-by-8-inch area of the paper, mar
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
Robert G. Vignola
Robert G. Vignola was an Italian-born American actor and film director in American cinema. One of the silent screen's most prolific directors, he made a handful of sound films in the early years of talkies but his career ended in the silent era. Born at Trivigno, in the province of Potenza, Vignola left Italy with his family at the age of 3 and was raised in upstate New York, he made his acting debut at 19 performing in "Romeo and Juliet", with Eleanor Robson Belmont and Kyrle Bellew. He began his film career as an actor in 1906 with the short film The Black Hand, directed by Wallace McCutcheon and produced by Biograph Company considered the film that launched the mafia genre. In 1907 he joined Kalem Studios. One of Vignola's most notable film roles was as Judas Iscariot in From the Manger to the Cross, directed by Sidney Olcott, one of the most successful films of the period. Vignola directed 87 films, most notably The Vampire, sometimes cited as the first "vamp" movie, Seventeen, where Rudolph Valentino did an uncredited cameo.
He had a long association directing the early movies of Pauline Frederick such as Audrey and Double Crossed. His biggest success was the big-budget epic When Knighthood Was in Flower, starring Marion Davies, which achieved critical and commercial acclaim. Other films include Déclassée, with the uncredited appearance of the unknown Clark Gable. Vignola died in Hollywood, California in 1953, he lived in a mansion at Whitley Heights owned by William Randolph Hearst. Hearst's mistress Marion Davies was allowed to stay without him at Vignola's mansion, worried that she was having affairs and considering Vignola a trusted companion for her as he was homosexual, he was buried in St. Agnes Cemetery, New York. Robert G. Vignola on IMDb Robert G. Vignola website dedicated to Sidney Olcott