307:
615:
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591:
603:
470:, Brooks denounced St. Clair, who had directed her in three Paramount feature films, alleged that he was an incompetent and a drunkard. Ruth Anne Dwyer, in her research for a 1996 biography on St. Clair, could find no corroboration for Brooksâ claims, concluding that her âunpleasant assessment of St. Clair's directing technique highly inaccurate.â Dwyer adds that her own account âshould correct any misconceptions caused by Brooksâ assertions.â
721:
298:(1922). Keaton's approach to cinematic comedy integrated the âgagâ scenes with the thematic elements of the story. St. Clair adopted Keaton's methods in his future films: âthe humor in his work stems from well-constructed gags which are connected to each other and/or to the central plot line, a comic style refined while working with Buster Keaton.â
388:(1925). A âsociety drama,â this lost film was well received by reviewers. After Business Hours first appeared in a 71-minute version, the picture was re-released after editing to 56 minutes. The shorter version was profitable, and its âartistic and financial successâ garnered the attention of Paramount Picture executives.
489:
St. Clair struggled to adapt to sound technology with the establishment of the new technology in 1930 in the United States. St. Clair's performance as a director declined, suffering from the increased censorship, and his difficulty adapting to a less mobile camera and studio editing of his work. He
391:
St. Clair was noted for providing a relaxed and supportive production unit, which contributed to his popularity among actors and technicians. A measure of âclowningâ and âhigh jinksâ as well as intramural baseball games âstimulated the cheerful atmosphere necessary to the comic mood of his films.â
627:
St. Clair was noted for using an array of âsignatureâ camera shots as cinematic devices with which to tell a story, among these the âback shotâ and âhand and foot shot.â In addition, highly compressed sequences of facial close-ups in reaction to one another or an event are widely identified as
636:
A camera shot notable in St. Clair's oeuvre, this cinematic technique presents an actor engaged in some action, but facing away from the audience or perhaps another character in the frame and, as such, concealing the subject's true behavior or condition. The subject is then suddenly revealed,
229:
Sennett, on this specious recommendation, engaged St. Clair, and was quickly disabused: the teenââthin and spindlyââSt. Clair was provided a bit part as a
Keystone Kop. Thus began his acting apprenticeship, performing often dangerous stunt work in the summer of 1915 during the filming of
402:âThe Paramount films can realistically be described as the peak of St. Clairâs career, a time when he was twice voted by film critics from the major cinema journals as being one of the best directors in America.â - Film historian Ruth Anne Dwyer in
661:
Close-ups of hands or feet may reveal the social and economic status of the subject in a St. Clair film: the bejeweled hands of a woman clutches a packet of letters, opens one briefly, then discards them all into a waste basket
179:
to the most sophisticated romantic comedy: he was a comic actor, a comic writer and a comic director. is best work was marked by a combination of brilliant visual style and ironic wit.â - Film historian Ruth Anne Dwyer in
685:, serving as a means to paint âa psychological portrait of their owner.â Dwyer adds that âSt. Clair had been using this technique since 1920 and it is possible that other filmmakers may have borrowed it from St. Clair.â
1871:
Dwyer, 1996 p. 51, p. 2: â...the peak of his career in 1926âŚâ And p. 5: 1928 âthe apex of his careerâŚâ And p. 5: St. Clairâs sophisticated style âdid not spring forth simply as a result of his association with Ernst
693:
St. Clair began using a technique of âclose-ups in close succession,â where actor's expressive faces appear to communicate with one another, providing insights into their relationship. A notable application from
637:
disabusing the audience of their momentary misapprehension. Film historian Ruth Anne Dwyer explains that the function of these shots serve to âfoolâ the observer and was âa recognizable St. Clair âsignature.ââ
31:
320:
in a flurry of activity in late 1923 and early 1924. St. Clair signed in
December 1923 with FBO to direct the series to begin filming in February 1924. Warner Bros. studios, which had been impressed with his
563:
St. Clairâs directing career ended as it had begun, with lesser known actors in unpretentious films with moderate budgets. The highlights of his career, the silent work at which he became so adept, lie
668:(1925)). A woman's feet clad in elegant evening slippers are shown pacing up and down, then stamping violently: the camera cuts to a trembling chandelier on the ceiling of the room below in (
271:
comic âTeutonic heavy.â Between 1919 and 1921 St. Clair graduated to directing and made about two dozen 2-reel comedies for
Sennett, inventing some of the characteristic gag routines.
422:
he films for which St. Clair became noted were the sophisticated comedies which he made for
Paramount in the 1920s; these have the light, oblique touch most often associated with
1853:(1925) artistic and financial success prompted Paramount to seek the talents of the young director, who, by 1925, and at the age of 28, had 46 films to his directing credit.â
2074:
Dwyer, 1996 p. 107: Reviewers were âfamiliarâ with this device to which âthey referred in their assessment of work.â and p. 110: See section on ârapidly spaced close-ups.
552:
Fox closed its B unit in
December 1944, leaving St. Clair inactive until 1948, when he directed two low-budget features for Fox release. In 1950, he wanted to direct
141:, suffering from the increased censorship, and his difficulty adapting to a less mobile camera and studio editing of his work. His later films were often limited to
650:} is viewed through a keyhole, seated with her back to the camera, a lighted cigarette visible in her hand: evidently alive, she has actually just been murdered.
1747:
Dwyer, 1996 p. 11: See here for kindness
Normand towards St. Clair and career support And p. 13: On credited, uncredited roles. And p. 177-183: Filmography
415:, filmed for Columbia Pictures was both a financial and critical success. In 1925 Paramount executives placed the 28-year-old filmmaker under contract.
332:
Biographer Ruth Anne Dwyer notes that St. Clair's love of boxing is âreflected in the remarkable number of films he made about the sport: seventeen.â
2025:
1989:
533:
St. Clair joined 20th
Century-Fox in 1936 and served with the studio for 12 years. He directed an assortment of comedies and dramas, including the
246:. St. Clair left the Keystone Kops in early 1916 under the auspices of Mabel Normand, joining the company of players who performed comic roles at
2186:
700:(1928) presents âa rapidly spaced exchange of glances between the heroines , each of the shots reflecting a change of mood or expression.â
347:
series and later followed St. Clair to Warner Bros. and then
Paramount Pictures where he would win Academy Awards for his cinematography.
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3008:
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studio for five years âa period in which he established most of his basic film vocabulary he was to use throughout his entire career.â
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2192:
1672:
Dwyer, 1996 p. 2: âmany films are lost, and some, surviving only on delicate nitrate stock, are unavailable for viewing.â And p. 160
473:
Despite professional friction, the director and the actress maintained a friendly relationship. In John Kobal's book of interviews,
3003:
1804:
Dwyer, 1996 p. 94: Mosley's Daryll Zanuck: The Rise and Fall of
Hollywood's Last Tycoon (1984). See footnote no. 5, p. 95 in Dwyer.
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2993:
658:
The purpose of these âhand and footâ shots is to reveal the emotional state of a character, as well as to advance the narrative.
1973:
1925:
1633:
418:
St. Clair's tenure at
Paramount would be âthe most important phase of his career.â Film historian Ruth Anne Dwyer observes:
3013:
2644:
2110:
Dwyer, 1996 p. 109: See here for note on Peter Milne, See Bibliography, p. 171 for article in Motion Picture Classic, 1926.
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696:
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2159:
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1881:
Dwyer, 1996 p. 3-4: Louise Brooksâ âunpleasant assessment of St. Clair's directing technique...highly inaccurate...â
329:, which he shot in the month of January 1924, then returned to FBO to complete his contract for The Telephone Girl.
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1098:
670:
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950:
222:. Moore convinced producer Sennett that St. Clair, whose only demonstrable skill was drawing, would excel as a â
202:
1822:
Dwyer, 1996 p. 94, And p. 85: See epigraph attributed to Jack Warner: âI don't want it good. I want it Tuesday.â
1702:
Dwyer, 1996 p. 7: â...the 17-year-old St. Clair had been drawing sport caricatures for the Los Angeles Express.â
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Near the end of his employment by Sennett, St. Clair co-directed two pictures with comic actor and filmmaker
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St. Clair directed a number of screen stars of the silent era while under contract to Paramount among them
2035:
1999:
677:
Dwyer observes that this âhand and footâ device was widely used by St. Clair's contemporaries, among them
257:(1916), in which he was cast as âthe Englishman.â His final role at Triangle was as âThe Crown Prince" in
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316:
93:
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108:
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Dwyer, 1996 p. 4: St. Clair's work at Paramount in the 1920s âthe most important phase of his career.â
1663:
Dwyer, 1996 p. 2: â...his career as a âBâ director in the 1930s at 20th Century Fox...â And p. 160-161
481:, St. Clair drew two caricatures of Brooks, both of which were published in magazines and newspapers.
2950:
2926:
2540:
2092:
Dwyer, 1996 p. 109: â...disclose an emotional state of mind...relay important narrative information.â
1890:
Dwyer, 1996 p. 3-4: Dwyer's account âshould correct any misconceptions caused by Brooksâ assertions.â
1601:
1563:
1395:
1030:
729:
247:
194:
118:, demonstrating his flexibility in wielding the medium as a director of comedies. His films included
2180:
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1125:
263:
477:, Brooks described St. Clair as "a charming man, a lovely man." Around the time of the filming of
366:, both 1924, Warner Bros. terminated St. Clair despite the box office successes of the pictures.
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258:
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After his dismissal from the âbudget consciousâ Warner Bros. studios, St. Clair was engaged by
111:. His work is characterized by a âdynamic visual styleâ evident in all the genres he treated.
30:
1681:
Dwyer, 1996 p. 1: Composite quote, slight edits for brevity, comprehension: meaning unaltered.
306:
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1985:
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8:
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features. Mal St. Clair is perhaps best known in his late career as the director of four
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1994:
1961:
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1969:
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made a handful of pictures during the early 1930s at various studios, including MGM,
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375:
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154:
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250:. St. Clair appeared in 13 of these Sennett films, nine of which he was credited.
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1651:
Dwyer, 1996 p 1, p. 2: â...the peak of his career in 1926...â And p. 5: On Keaton
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239:
235:
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703:
St. Clair used this device successfully in his boxing-themed films, including
160:
Most of St. Clair's silent films are lost or have limited access in archives.
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Dwyer, 1996 p. 2: â...the peak of his career in 1926âŚâ And p. 98 for quote.
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1008:
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in a television series, but ill health prevented him from directing again.
538:
493:
211:
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146:
123:
2131:
Dwyer, 1996 pp. xiii-xviii: List of Film Titles and studios, chronological
234:(1915), earning $ 3 per day. His fellow comedians included veteran actors
467:
379:
362:
351:
268:
243:
207:
115:
100:
2904:
2171:
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336:
223:
215:
138:
104:
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Dwyer, 1996 p. 7: With Sennett for âfive years, from 1915 to 1921...â
459:
176:
119:
720:
1321:
910:
737:
325:
series for FBO, enlisted St. Clair to make his first feature film,
231:
175:âMalcolm St. Clairâs gift crossed many comedic styles, from broad
142:
206:
to draw sports caricatures. A former associate at the Express,
541:
feature. He also accepted freelance assignments, including two
168:
16:
Hollywood film director, writer, producer and actor (1897â1952)
1759:
Dwyer, 1996 pp. xiii-xviii: List of Film Titles, chronological
281:
1966:
Laurel & Hardy: From the Forties Forward, Second Edition
264:
The Mack Sennett Bathing Beauties in Why Beaches Are Popular
549:
comedies, released by Fox between June 1943 and May 1945.
1926:"Louise Brooks - Caricatures and Illustrations (American)"
430:
137:
His performance as a director declined with the advent of
1192:
114:
The zenith of St. Clair's filmmaking occurred during the
2228:
1949:
Dwyer, 1996 p. 5-6: On his 12 years at 20th Century Fox
189:
Malcolm St. Clair worked for a comedy movie producer
1628:. The Scarecrow Filmmakers Series. Scarecrow Press.
628:
characteristic of St. Clair's story-telling method.
214:
for Mack Sennett, and introduced St. Clair to actor
559:Malcolm St. Clair died on June 1, 1952, at age 55.
2101:Dwyer, 1996 p. 109: Dwyer provides more examples.
809:Film studios are listed next to each film title.
2965:
395:
2189:with writer Anita Loos and actress Ruth Taylor.
1720:Dwyer, 1996 p. 2, p. 8, both pages report 6â3â
2214:
568:
169:Mack Sennett and Triangle studios: 1915-1921
688:
96:film director, writer, producer and actor.
2221:
2207:
310:Malcolm St. Clair Photoplay magazine, 1926
282:Keaton-St. Clair collaborations: 1921-1922
71:Film director, writer, producer, and actor
29:
2118:
2116:
1904:. New York: Alfred A. Knopf. p. 82.
1755:
1753:
301:
2020:
1984:
1957:
1955:
1689:
1687:
1659:
1657:
1617:
719:
653:
305:
182:Malcolm St. Claire: His Films, 1915-1948
2146:Malcolm St. Clair: His Films, 1915-1948
1647:
1645:
466:. In a 1989 interview with biographer
404:Malcolm St, Clair: His Films, 1915-1948
314:The 25-year-old Mal St. Clair directed
35:St. Clair, circa 1940, 20th Century Fox
2966:
2113:
1750:
1626:Malcolm St. Clair: His Films 1915â1948
728:Note: All films as actor were made at
484:
200:At age 17, St. Clair was hired by the
2202:
1952:
1899:
1738:Dwyer, 1996 pp. 177-241: Filmography.
1684:
1654:
1623:
631:
130:and sophisticated comic-romances for
1642:
1624:Dwyer, Rauth Anne (March 20, 1997).
369:
99:St. Clair's film career spanned the
92:(May 17, 1897 â June 1, 1952) was a
528:
267:(1919), in which represents a post-
261:(1919) and its associated release
13:
14:
3030:
3009:20th-century American male actors
2165:
2989:American male silent film actors
2589:The Grand Duchess and the Waiter
1099:The Grand Duchess and the Waiter
671:The Grand Duchess and the Waiter
646:(1929) in which âCanaryâ Odell (
640:Dwyer offers as an example from
613:
601:
589:
577:
3004:People from Greater Los Angeles
2125:
2104:
2095:
2086:
2077:
2068:
2059:
2050:
2014:
1978:
1943:
1918:
1893:
1884:
1875:
1865:
1856:
1843:
1834:
1825:
1816:
1807:
1798:
1789:
1780:
1771:
1762:
1741:
1732:
1723:
812:
339:acted as cameraman on both the
274:His first directing credit was
145:âfamilyâ comedies, such as the
126:, outrageous gag routines with
3019:Film producers from California
2994:Film directors from California
2274:Hungry Lions and Tender Hearts
1714:
1705:
1696:
1675:
1666:
1241:
710:
1:
2828:The Jones Family in Hollywood
2138:
1450:The Jones Family in Hollywood
396:Paramount Pictures: 1926-1929
378:- at that time considered a â
2484:When Knighthood Was in Tower
2458:When Gale and Hurricane Meet
2154:, Lantham, Md., and London.
431:St. Clair and Louise Brooks
253:His first credited film was
7:
3014:Male actors from California
2193:Mal St. Clair photo gallery
1968:, iUniverse, 2009, p. 160.
939:- Comique Film Corporation/
804:
537:of domestic comedies and a
10:
3035:
2999:Filmmakers from California
918:(1921) - Triangle-Keystone
569:Camera technique and style
226:â writer for the studio.
2984:American male film actors
2852:
2711:
2541:The Lighthouse by the Sea
2452:The End of a Perfect Fray
2310:Wedding Bells Out of Tune
2266:
2245:Rip & Stitch: Tailors
2237:
1031:The Lighthouse by the Sea
902:Buster Keaton Productions
884:Wedding Bells Out of Tune
163:
75:
67:
55:
40:
28:
21:
2645:Gentlemen Prefer Blondes
2428:Two Stones with One Bird
2144:Dwyer, Ruth Anne. 1996.
2028:. Movies & TV Dept.
1992:. Movies & TV Dept.
1610:
1172:Gentlemen Prefer Blondes
825:Rip & Stitch Tailors
778:Their Domestic Deception
762:âThe Camera Cureâ (1917)
715:
697:Gentlemen Prefer Blondes
689:Rapidly spaced close-ups
276:Rip & Stitch Tailors
941:First National Pictures
797:Yankee Doodle in Berlin
259:Yankee Doodle in Berlin
82:Yankee Doodle in Berlin
2677:The Canary Murder Case
2573:The Trouble with Wives
2416:The Knight That Failed
2257:No Mother to Guide Him
2187:Photo of Mal St. Clair
1214:The Canary Murder Case
1087:- Famous Players-Lasky
1079:- Famous Players-Lasky
1076:The Trouble with Wives
1004:George Washington, Jr.
837:No Mother to Guide Him
725:
566:
428:
408:
327:George Washington, Jr.
311:
302:Warner Bros. 1924-1925
210:, was performing as a
186:
2471:George Washington Jr.
2434:Some Punches and Judy
2386:Entertaining the Boss
2280:He Loved Like He Lied
1930:Louise Brooks Society
1372:- Metro-Goldwyn-Meyer
1339:- Metro-Goldwyn-Meyer
1289:- Metro-Goldwyn-Meyer
1273:- Metro-Goldwyn-Meyer
962:Entertaining the Boss
951:/Robertson-Cole Corp.
850:He Loved Like He Lied
723:
654:âHand and Footâ shots
561:
420:
400:
382:â studio - to direct
309:
173:
2883:The Man in the Trunk
2875:The Bashful Bachelor
2776:Time Out for Romance
2744:The Boudoir Diplomat
2728:Dangerous Nan McGrew
2637:Breakfast at Sunrise
2581:A Woman of the World
2565:After Business Hours
2514:For the Love of Mike
2374:Their First Vacation
2304:A Kitchen Cinderella
2195:(ACertainCinema.com)
1900:Kobal, John (1985).
1851:After Business Hours
1849:Dwyer, 1996 p. 94: â
1777:Dwyer, 1996 p. 85-86
1559:- Columbia Pictures
1502:The Man in the Trunk
1494:The Bashful Bachelor
1336:Time Out for Romance
1301:The Boudoir Diplomat
1278:Dangerous Nan McGrew
1157:Breakfast at Sunrise
1084:A Woman of the World
1070:Famous Players-Lasky
1054:After Business Hours
956:Their First Vacation
865:A Kitchen Cinderella
512:The Boudoir Diplomat
506:Dangerous Nan McGrew
413:After Business Hours
385:After Business Hours
360:and the crime drama
218:who co-starred with
203:Los Angeles Express
109:Hollywood Golden Age
2920:Swing Out the Blues
2913:The Dancing Masters
2842:Hollywood Cavalcade
2557:Are Parents People?
2151:The Scarecrow Press
1729:Dwyer, 1996 p. 9-10
1556:Swing Out the Blues
1541:The Dancing Masters
1466:Hollywood Cavalcade
1193:Metro-Goldwyn-Meyer
1065:Are Parents People?
931:- Triangle-Keystone
867:- Triangle-Keystone
861:- Triangle-Keystone
839:- Triangle-Keystone
833:- Triangle-Keystone
827:- Triangle-Keystone
772:An Innocent Villain
665:Are Parents People?
535:Jones Family series
485:Transition to sound
350:After completing a
2752:Olsen's Big Moment
2739:(1930; uncredited)
2696:(1929; uncredited)
2597:A Social Celebrity
2446:Rice and Old Shoes
2410:The Knight in Gale
2360:Wedding Dumb Bells
2348:You'd Be Surprised
2286:His Youthful Fancy
2229:Films directed by
2183:at Virtual History
2122:Dwyer, 1996 p. 110
2083:Dwyer, 1996 p. 108
2065:Dwyer, 1996 p. 107
2031:The New York Times
2026:"Malcolm St Clair"
1995:The New York Times
1990:"Malcolm St Clair"
1962:Scott MacGillivray
1831:Dwyer, 1996 p. 122
1605:- 20th Century Fox
1597:- 20th Century Fox
1582:- 20th Century Fox
1567:- 20th Century Fox
1544:- 20th Century Fox
1536:- 20th Century Fox
1513:- 20th Century Fox
1505:- 20th Century Fox
1482:- 20th Century Fox
1461:- 20th Century Fox
1453:- 20th Century Fox
1438:- 20th Century Fox
1430:- 20th Century Fox
1422:- 20th Century Fox
1419:Safety in Numbers
1414:- 20th Century Fox
1399:- 20th Century Fox
1380:- 20th Century Fox
1369:Dangerously Yours
1110:A Social Celebrity
1015:The Telephone Girl
947:Rice and Old Shoes
892:- Triangle-Sennett
886:- Triangle-Sennett
854:Rainbow/ Universal
726:
643:Canary Murder Case
632:âBack shotâ device
345:The Telephone Girl
317:The Telephone Girl
312:
2961:
2960:
2943:Arthur Takes Over
2897:Two Weeks to Live
2890:Over My Dead Body
2860:Young as You Feel
2809:Safety in Numbers
2797:Dangerously Yours
2760:Goldie Gets Along
2231:Malcolm St. Clair
2181:Malcolm St. Clair
2172:Malcolm St. Clair
1974:978-1-4401-7237-3
1813:Dwyer, 1996 p. 94
1795:Dwyer, 1996 p. 72
1635:978-0-8108-2709-7
1594:Arthur Takes Over
1525:Two Weeks to Live
1510:Over My Dead Body
1479:Young as You Feel
1427:Down on the Farm
1390:Republic Pictures
1328:Goldie Gets Along
1318:Olsen's Night Out
1059:Columbia Pictures
859:Young Man's Fancy
757:Her Circus Knight
745:Dollars and Sense
730:Triangle-Keystone
724:Triangle Keystone
522:Goldie Gets Along
517:Olsen's Night Out
411:St. Clair's 1925
376:Columbia Pictures
370:Columbia pictures
255:Dollars and Sense
195:Triangle-Keystone
90:Malcolm St. Clair
87:
86:
23:Malcolm St. Clair
3026:
2935:The Bullfighters
2821:Everybody's Baby
2815:Down on the Farm
2605:Good and Naughty
2440:Gall of the Wild
2422:Six Second Smith
2354:Don't Be Foolish
2330:The Night Before
2251:The Little Widow
2223:
2216:
2209:
2200:
2199:
2132:
2129:
2123:
2120:
2111:
2108:
2102:
2099:
2093:
2090:
2084:
2081:
2075:
2072:
2066:
2063:
2057:
2056:Dwyer, 1996 p. 6
2054:
2048:
2047:
2045:
2043:
2038:on 30 March 2014
2034:. Archived from
2018:
2012:
2011:
2009:
2007:
2002:on 30 March 2014
1998:. Archived from
1982:
1976:
1959:
1950:
1947:
1941:
1940:
1938:
1936:
1922:
1916:
1915:
1902:People Will Talk
1897:
1891:
1888:
1882:
1879:
1873:
1869:
1863:
1860:
1854:
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1796:
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1787:
1786:Dwyer, 1996 p. 4
1784:
1778:
1775:
1769:
1768:Dwyer, 1996 p. 5
1766:
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1711:Dwyer, 1996 p. 8
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1639:
1621:
1579:The Bullfighters
1458:Quick Millions
1435:Everybody's Baby
1385:Meet the Missus
1356:20th Century Fox
1118:Good and Naughty
976:- Robertson-Cole
970:- Robertson-Cole
964:- Robertson-Cole
958:- Robertson-Cole
907:The Night Before
831:The Little Widow
683:Alfred Hitchcock
617:
605:
593:
581:
547:Laurel and Hardy
529:20th Century Fox
475:People Will Talk
248:Triangle studios
155:Laurel and Hardy
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62:
50:
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33:
19:
18:
3034:
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2867:Meet the Missus
2848:
2803:A Trip to Paris
2707:
2629:Knockout Reilly
2621:The Popular Sin
2508:Sherlock's Home
2478:Julius Sees Her
2316:Sweetheart Days
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1411:A Trip to Paris
1244:
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1149:Knockout Reilly
1134:The Popular Sin
1049:- Warner Bros.
890:Sweetheart Days
815:
807:
766:His Perfect Day
718:
713:
705:Knockout Reilly
691:
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634:
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236:Charlie Chaplin
187:
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116:silent film era
107:era during the
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2835:Quick Millions
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2800:
2794:
2790:She Had to Eat
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2736:Remote Control
2732:
2724:
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2706:
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2697:
2693:Welcome Danger
2689:
2681:
2673:
2669:The Fleet's In
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2653:Sporting Goods
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2520:The Square Sex
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2178:
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2166:External links
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2076:
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2013:
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1373:
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1282:
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1238:
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1222:Welcome Danger
1218:
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1199:The Fleet's In
1195:
1184:
1180:Sporting Goods
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1106:
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1080:
1072:
1061:
1050:
1036:
1035:
1034:- Warner Bros.
1027:
1026:- Warner Bros.
1019:
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987:Fighting Blood
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584:Adolphe Menjou
583:
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573:
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570:
567:
530:
527:
509:}, Universal (
503:), Paramount (
500:Remote Control
486:
483:
456:Adolphe Menjou
448:Esther Ralston
444:Florence Vidor
435:
429:
424:Ernst Lubitsch
399:
397:
394:
371:
368:
341:Fighting Blood
323:Fighting Blood
303:
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296:The Blacksmith
283:
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172:
170:
167:
165:
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153:and the later
85:
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69:
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63:(aged 55)
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2953:
2952:
2951:Fighting Back
2948:
2945:
2944:
2940:
2937:
2936:
2932:
2929:
2928:
2927:The Big Noise
2924:
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2783:Born Reckless
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2661:Beau Broadway
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2534:
2533:Find Your Man
2530:
2527:
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2518:
2515:
2512:
2509:
2506:
2503:
2502:William Tells
2500:
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2399:
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2392:Keep 'Em Home
2390:
2387:
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2380:Twin Husbands
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2293:
2292:Don't Weaken!
2290:
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2160:0-8108-2709-3
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2098:
2089:
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2033:
2032:
2027:
2023:
2022:Erickson, Hal
2017:
2001:
1997:
1996:
1991:
1987:
1986:Erickson, Hal
1981:
1975:
1971:
1967:
1963:
1958:
1956:
1946:
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1927:
1921:
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1911:0-394-53660-6
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1602:Fighting Back
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1564:The Big Noise
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1188:Beau Broadway
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1024:
1023:Find Your Man
1020:
1017:
1016:
1012:
1010:
1006:
1005:
1001:
1000:
999:
998:
992:
988:
985:
984:
983:
982:
975:
974:Keep âem Home
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790:Lost - A Cook
788:
785:
784:His Baby Doll
782:
779:
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773:
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686:
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673:
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667:
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659:
651:
649:
648:Louise Brooks
645:
644:
638:
629:
616:
604:
596:Louise Brooks
592:
580:
565:
560:
557:
555:
554:Buster Keaton
550:
548:
544:
543:Lum and Abner
540:
536:
526:
524:
523:
519:), and RKO (
518:
514:
513:
508:
507:
502:
501:
496:
495:
482:
480:
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471:
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464:Louise Brooks
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357:Find Your Man
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335:Photographer
333:
330:
328:
324:
319:
318:
308:
299:
297:
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288:Buster Keaton
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220:Mabel Normand
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68:Occupation(s)
66:
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43:
39:
32:
27:
20:
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2720:Montana Moon
2718:
2701:Night Parade
2699:
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2627:
2619:
2613:The Show-Off
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61:(1952-06-01)
59:June 1, 1952
51:May 17, 1897
2979:1952 deaths
2974:1897 births
2685:Side Street
2549:On Thin Ice
2526:Bee's Knees
2342:Bright Eyes
1281:- Paramount
1242:Sound films
1233:Side Street
1217:- Paramount
1202:- Paramount
1183:- Paramount
1175:- Paramount
1160:- Paramount
1152:- Paramount
1137:- Paramount
1129:- Paramount
1121:- Paramount
1113:- Paramount
929:Bright Eyes
873:- Reelcraft
711:Filmography
564:forgotten.â
468:Barry Paris
433:contretemps
380:Poverty Row
363:On Thin Ice
352:Rin Tin Tin
294:(1921) and
269:World War I
244:Al St. John
208:Lige Conley
2968:Categories
2905:Jitterbugs
2496:King Leary
2464:Judy Punch
2336:Call a Cop
2139:References
1935:August 11,
1872:Lubitsch.â
1533:Jitterbugs
916:Call a Cop
608:Pola Negri
452:Tom Moore
440:Pola Negri
337:Lee Garmes
216:Owen Moore
157:features.
47:1897-05-17
2398:Christmas
1351:Crack-Up
1306:Universal
1104:Paramount
968:Christmas
900:(1921) -
897:The Goat
732:studios.
460:Clara Bow
177:slapstick
132:Paramount
120:slapstick
94:Hollywood
2768:Crack-Up
2323:The Goat
2042:21 March
2024:(2014).
2006:21 March
1988:(2014).
1322:Fox Film
911:Fox Film
805:Director
738:My Valet
707:(1927).
674:(1926))
515:), Fox (
354:feature
292:The Goat
278:(1919).
232:My Valet
149:series,
406:(1996)
184:(1996)
143:B movie
124:Sennett
2954:(1948)
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1972:
1908:
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1331:- RKO
1258:- RKO
1236:- RKO
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164:Career
128:Keaton
101:silent
2853:1940s
2712:1930s
2267:1920s
2238:1910s
1611:Notes
1528:- RKO
1497:- RKO
1473:1940
1018:- FBO
716:Actor
139:sound
105:sound
2176:IMDb
2156:ISBN
2044:2014
2008:2014
1970:ISBN
1937:2024
1906:ISBN
1630:ISBN
1587:1948
1572:1945
1549:1944
1518:1943
1487:1942
1443:1939
1404:1938
1362:1937
1344:1936
1312:1933
1294:1931
1263:1930
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878:1921
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681:and
462:and
343:and
242:and
193:and
122:for
103:and
56:Died
41:Born
2174:at
1320:-
991:FBO
909:-
852:-
525:).
224:gag
2970::
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2115:^
1964:,
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662:(
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45:(
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