Showing posts with label Chicago. Show all posts
Showing posts with label Chicago. Show all posts

Tuesday, November 14, 2023

Happy birthday Louise Brooks (1906-1985)

Happy birthday to Louise Brooks, who was born on this day, November 14th, in Cherryvale, Kansas in 1906.

To celebrate Brooks' birth, I thought I would share a scan of my newest treasure, a tinted arcade card. The front and back of the card are shown below. In all likelihood, this card was obtained from a vending machine located in an amusement park, a store, or some similar venue where one might find other vending machines. And in all likelihood, it cost a penny, one cent.

Like the cherry red tinted Street of Forgotten Men arcade card, which has been shown previously on this blog and is depicted in my new book, The Street of Forgotten Men: From Story to Screen and Beyond, this golden yellow tinted card was issued by the Exhibit Supply Company of Chicago, Illinois. The Street of Forgotten Men card was intended as a promotional item which could also be used as a postcard.

This newest acquisition had a different use, as is shown on its reverse. This card was a kind of coupon. Acquire 50 such coupon cards, clip the corner, and one could redeem a prize, such as an Imp bottle, trick pencil, 7" x 10" Tom Mix photo, or a Babe Ruth or Charles Lindbergh Lucky Pocket Piece. By sending in 100 coupons, one could obtain a Rubber Dagger, Referee's Whistle, or a Charlie Chaplin Squirter, among other valuable prizes. Wowza!

Here is the scan of my arcade card, showing the front and back. The card, obviously, has been clipped. I wonder what the original owner obtained in return? 


This item, which I acquired through eBay, was part of a grouping of other movie star arcade cards which included major or established stars like Pola Negri, Marie Dressler, Vilma Banky, Constance Talmadge,  Marguerite De La Motte, Lila Lee and Gertrude Astor.

There were also cards for up and coming actresses like Carole Lombard, Joan and Constance Bennett, and Ruth Chatterton. Since Lombard's image was printed on one of the cards, and since she didn't have credited roles in films until 1928 and 1929, I am going to guess and say these cards date from around 1929, perhaps 1930 - by which time Brooks fame in the United States was beginning to fade. 

Here is an informational page about the Exhibit Supply Company from the Made in Chicago Museum. And here are examples of a whole bunch of cards from the collection of the Metropolitan Museum of Art in New York.

If anyone knows more about these specific cards, I would love to here from you. Also, I would be happy to sell any of these cards, either individually or as a group, except for the Louise Brooks card. Make me an offer. My other cards are shown below. Except for the Pola Negri card, each is in very good, though clipped, condition. A few have pencil markings on the reverse.


 

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Tuesday, January 3, 2023

Reminder: 1926 Louise Brooks film, The Show Off, screens in Chicago area on Jan 10

The little seen Louise Brooks film, The Show Off (1926), will be screened in St. Charles, Illinois one week from today, on January 10, 2023. This screening, presented by the Silent Film Society of Chicago, will include a live theatre organ score performed by Jay Warren. More information about this event can be found below.

The Show-Off is gem. The film is a satiric comedy about an insufferable braggart who disrupts the life of a middle-class family. While remembered today as a Louise Brooks film, The Show-Off is really a vehicle for Ford Sterling, a comedian best remembered for his starring work as a member of the Keystone Kops. As a broad comedian, he is the perfect choice for the role of the titular blowhard Aubrey Piper. Brooks plays a supporting role as the love interest of the boy who lives next door. Based on a popular stage play by an acclaimed playwright, The Show-Off was considered a prestige project — and thus drew a significant amount of critical attention along with inevitable comparison to its Broadway namesake. 


A bit of trivia: 

 — The Show-Off (1924) was authored by Philadelphia-born George Kelly (1887–1974), an American playwright, screenwriter, director, and actor. Besides being the uncle of the Oscar winning actress Grace Kelly (the future Princess Grace of Monaco), George Kelly was considered by some (Robert Benchley, Alexander Woollcott, and others) as one of the finest  dramatists of the 1920s — alongside the likes of Sherwood Anderson and Elmer Rice. Besides The Show-Off, Kelly was best known for Craig’s Wife (1925), which won the Pulitzer Prize and was made into a motion picture on three occasions. His first play, The Torch Bearers, was also highly regarded.

The Show-Off was the hit of the 1924 Broadway season, where it ran 571 performances. Famed critic Heywood Broun called it “the best comedy which has yet been written by an American.” The play’s success drew the attention of the motion picture stuudios, and in October, 1925 Paramount had a synopsis of the play written by F. M. Macconnell and others.

— Widely acclaimed, The Show-Off was in the running to receive the 1924 Pulitzer Prize for drama, but last minute dealings denied Kelly the award. According to various books, the Pulitzer drama committee recommended Kelly’s work for the prize, but the higher ranking Pulitzer Advisory board overruled their selection for reasons which were never made clear. One book, Chronicle of the Pulitzer Prizes for Drama: Discussions, Decisions and Documents, notes “In the following year, 1924, the recommendation of the jurors was brief and concise…  ‘The Committee have decided that the Pulitzer Prize for the best current American play should go to The Show-Off by George Kelly. We think this is an extremely good and original American play.’ But before the Advisory Board could discuss the suggestion of the jury, a docent of Columbia University [the institution which awarded the prize], although neither a member of the jury nor member of the Advisory Board, intervened and spoke out against it’s verdict. He ‘wrote privately to (Columbia University) President Butler … to protest the Drama Jury’s selection of George Kelly’s satirical comedy… Instead… (he) called for a prize for Hell-Bent for Heaven, a hillbilly drama set in the Kentucky mountains, by a fellow member of the Columbia faculty, Hatcher Hughes.” Kelly was vindicated two years later when Craig’s Wife won the award.

The Show-Off  enjoyed New York revivals in 1932, 1950, 1967, and 1992, with regional theatrical runs in 1930, 1941, 1975 and 1978. The play was the basis for motion pictures of the same name made in 1926, 1934 (with Spencer Tracy), and 1946 (with Red Skelton), as well as the 1930 film Men Are Like That (directed by Frank Tuttle). There was also a radio adaption in 1953.

— As happened in at least a few instances, a theatrical production of The Show-Off was being staged in major cities at the same time as Paramount’s film version was shown. In San Francisco, California a stage production starring Louis John Bartels as Aubrey Piper proved especially popular, with the cast of the play invited to view the film when in opened locally. Bartels (who originated the role on Broadway) later went on to act in films, including The Canary Murder Case (1929).

— C.W. Goodrich, who plays Pop Fisher in the film, originated the role on Broadway when it opened at the Playhouse Theater in February of 1924.

The Show-Off is one of two films that co-starred the popular Broadway actor Gregory Kelly (no relation), who died shortly after The Show-Off finished production. Gregory Kelly was the first husband of actress Ruth Gordon.

Louise Brooks and Gregory Kelly

The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society. (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.

Saturday, December 10, 2022

Little Seen Louise Brooks Film to Screen in Chicago, Illinois

The little seen Louise Brooks film, The Show Off (1926), will be screened in Chicago, Illinois one month from today, on January 10, 2023. This screening, presented by the Silent Film Society of Chicago, will include a live theatre organ score performed by Jay Warren. More information about this event can be found below. A BIG thanx to longtime LBS member Tim Moore for alerting everyone to this event.

The Show-Off  screened in Chicago, Illinois in various theaters in July and August of 1926. Overall, the film was well received. (It remains one of my favorite Louise Brooks comedies.) Here are snippets from a few vintage reviews.

Tinee, Mae. “Ford Sterling Almost a Perfect Bumptious, Bombastic Show Off.” Chicago Tribune, July 7, 1926.
— ” . . . splendidly cast and acted.”

Reel, Rob. “You’ll Remember and Like Ford Sterling as Show Off.” Chicago Evening American, July 27, 1926.
— ” . . . is well done, and a lot of fun. You ought to like it.”

anonymous. “A Hit on the Stage; as Good on the Screen.” Chicago Evening Post, July 30, 1926.
— “Louise Brooks and George Kelly also handle their parts most effectively.”


The Louise Brooks Society blog is authored by Thomas Gladysz, Director of the Louise Brooks Society. (www.pandorasbox.com). Original contents copyright © 2022. Further unauthorized use prohibited.

Tuesday, September 7, 2021

Louise Brooks and the mystery of missing time

In researching the life and career of Louise Brooks, there are two brief intervals which remain something of a mystery. The first was Brooks' first visit to Paris in 1924. The second were the months following Brooks' marriage to Deering Davis when the couple was traveling and living in the American Southwest. I have wondered where she was exactly, and/or what might she have been doing? 

In compiling a chronology of her day-by-day activities, which can be found at Louise Brooks: Day by Day 1906-1939 and Louise Brooks: Day by Day 1940-1985, I have been frustrated in my attempts to locate any online records (i.e. newspapers articles, etc....) which might shed even a little light on Brooks' activities during these time periods. Until now....

1924 passport photo

On September 18, 1924, Brooks applied for and was given an emergency passport. On September 20, she left the United States aboard the RMS Homeric bound for Europe. The trip took a week. Brooks was traveling with friend Barbara Bennett (of the famous Bennett family), and we know they went to Paris. But we know little else, except that the boat landed in Cherbourg, France on the 27th. 

the RMS Homeric

Here is the clipping from the International Herald Tribune (the European edition of The Chicago Tribune and the New York Daily News), an English-language newspaper located in Paris, which mentions Brooks' arrival. This is the earliest mention of Brooks in an European publication.

Just recently, I came across a brief mention of the trip in the Wichita Eagle. On October 12, 1924, the newspaper reported Brooks is in Paris, France, noting, "Her departure was sudden and her parents have not received a letter from her since her arrival in Paris. She went abroad as a member of a company expecting to appear in the French capital." 

A comment and an observation. First, how did the Wichita Eagle know Brooks was traveling to Europe? My guess is that one of her parents likely told the paper - this being a time when locals traveling abroad or even just visiting the next town over made the news. And if her parents did alert the paper, they likely did so because they were worried about Brooks and had not heard from her; this might have been their way to find out something, anything, via the newspapers of the day. Secondly, Brooks did not travel to Europe with a company of performers, as the Wichita Eagle says. She went on a "vacation" with a wealthy friend. The Wichita paper was likely misinformed, or told something that wasn't exactly true. Perhaps Louise herself told or suggested to her parents that she was traveling to Europe to work, when in fact that wasn't her intention. I wonder what Brooks did in Paris for the couple three week she was there. I have searched the Parisian newspaper of the time, but have never found any mention of the budding performer.

By October 19, 1924, Brooks was in London, England living at 49A Pall Mall. And on October 20, she began dancing at the famous Cafe de Paris nightclub in the heart of the English capital.

= = =  = 

Here is another mystery. Why did Louise Brooks marry Deering Davis, a decidedly unglamorous looking Chicago playboy?


The other brief period of time that is something of a mystery is interval following her more-or-less sudden marriage Davis in October 1933. As Barry Paris writes in his thoroughly researched biography, "The Associated Press reported that, for a honeymoon, the Davies would go by car to a ranch in Tucson, via Colorado Springs. Davis liked the Southwest and wanted to settle there, but it was too close to Kansas for Louise's comfort. Nothing is known of their three months traveling, except that Davis and Louise - with the aid of a Victrola and the odd nightclub here and there - had plenty of time of time to work up their dance act." The underline is mine for emphasis.

What we know is this: on October 10, 1933, Brooks (age 26) married wealthy Chicago playboy Deering Davis (age 36) at City Hall in Chicago, Illinois. The ceremony was read by Judge Francis J. Wilson, and witnessed by Davis' brother and sister-in-law, Dr. and Mrs. Nathan S. Davis III. After a few days, the couple left for a three month honeymoon in Tucson, Arizona, where they were expected to "live on a ranch." The marriage made news across the country. On October 11, the two newspapers in Tucson carry stories reporting Brooks would soon come to reside on a ranch near the Arizona town. I recently came across those two Tuscon clippings. Here is one of them - they are both very similar.

News of the Deering Davis - Louise Brooks wedding ran in newspapers across the country for the next few days. All of these stories, which were mostly captioned photos on the picture page, said pretty much the same thing.

And then that's it until February of 1934, when the couple reemerges in Chicago and perform as dancers on a few occasions. I know they were on their honeymoon, but I have wondered why they otherwise dropped off the radar. Too me, it doesn't make sense. Certainly, a celebrity couple driving around the Southwest would have made the news in local papers in Colorado or Arizona. Did they pass through Kansas? Did they in fact live on a ranch in Tucson, Arizona? I wonder if something else was going on.

If they did live on a ranch, which ranch was it? What kind of ranch was it? Was it a "dude ranch"? Or was the ranch the kind individuals with a drinking problem spent time at in order to dry out or pull themselves together? I think we know Brooks was unhappy at this time in her life. In 1932, she declared bankruptcy, and couldn't get work in films. And the United States was in the grips of the Depression. This stretch of three to four months was about the longest I have found (for the 1920s and 1930s) for Brooks not to have had her name in the papers. There was always something, a mention in a gossip column, an appearance at a restaurant or nightclub or theater. But for three or four months, they was nothing. Who knows? Perhaps Brooks and Davis were just practicing their dance routine.


Tuesday, April 14, 2020

New Find 5 - another RARE Portrait of Louise Brooks

There is still a lot of interesting Louise Brooks & silent film material yet to discover. This post is the fifth in an ongoing series highlighting some of the newly found material I have just recently come across while stuck at home due to the coronavirus. With time on my hands, I have turned to picking through some of the many online databases and archives - some of which are newly accessible (due to the physical restrictions put on researchers because of the coronavirus), and some of which I am returning to in order to more thoroughly explore their holdings. As I am always finding out, it pays to not only have more than one set of key words to search under, but to look in the most unlikely places. You never know what you will find. Be sure and follow this blog for more discoveries in the coming weeks. 

As I mentioned in the second installment in this series, "New Find 2 - a Rare Paparazzi Picture of Louise Brooks," I am always a bit gobsmacked when I see a picture of Louise Brooks which I have never seen before. Here is another such image, which I uncovered a few days ago. It dates from 1933, and depicts newlyweds Louise Brooks and Deering Davis.


The caption below this portrait reads: "The Deering Davises, of Chicago, down on the farm. Mrs Davis is the former Miss Louise Brooks, erstwhile of the movies in the dear silent days."

I am not sure what farm the caption refers to, but judging by their attire, I don't think the new couple (he, a suit and she, high heels and gloves) were engaged in farm work. Perhaps they were enjoying horseback riding, as Deering Davis was a wealthy, well known polo player.... Here, for your amusement, is another picture of the soon divorced couple.


Friday, April 12, 2019

Charles Van Doren, quiz shows, Louise Brooks, and beauty as fire

Yesterday, obituaries ran in newspapers across the country announcing the death of Charles Van Doren, the "quiz show wiz who wasn't."

Back in the late 1950s, at the height of the popularity of television quiz shows, the distinguished and obviously intelligent Van Doren admitted that the programs were a hoax, that he had been coached and given answers, and the program outcome fixed. It was a major scandal, and even involved a Congressional investigation. Read the New York Times obituary of Charles Van Doren HERE. (Van Doren's role in the quiz show scandal was later turned into the Robert Redford directed film, Quiz Show, from 1994.)

I don't know that Louise Brooks ever watched TV quiz shows (she may have, as she did like watching TV), but I mention Van Doren's passing because of it's admittedly oblique connection to the actress, a connection though tenuous worthy of a quiz show question....

Back in 1929, a syndicated newspaper article noted famed literary critic and Pulitzer Prize-winning biographer Carl Van Doren declared Louise Brooks the second most beautiful woman in the world. Carl Van Doren, the brother of the future Pulitzer Prize winning critic and poet Mark Van Doren, was the uncle of Charles Van Doren.

Though this instance of the syndicated newspaper article (shown below) incorrectly pictures Brooks, the end of the article clearly identifies the actress. "Mr. Van Doren considers Hope Williams the most beautiful woman in the public eye today, with Louise Brooks, of movie fame, a close second. Mary Queen of Scots, he says, is the most beautiful woman of all time."


If you think Van Doren's choices a bit eccentric, consider his definition of beauty, which begins the article. "'Beauty' says Carl Van Doren, 'is a divine inner fire. And competition whets the flame of beauty'."

Curiously, this piece was reprinted in a Canadian newspaper as late as 1933, and without any images of either Brooks, Williams, or Mary Queen of Scots (a brunette, a blonde, and a redhead, respectively).

Who was Hope Williams? She lived from 1897 to 1990, and was a stage actress active on Broadway from 1927-1939. Seemingly, her only film appearance was in The Scoundrel (1935), a Ben Hecht, Charles MacArthur written and directed film which marked Noel Coward's first screen appearance in a talkie. There isn't much information about her on the interweb. Nevertheless, her is her portrait.

Saturday, June 9, 2012

Laura Moriarty in Chicago, Illinois

Laura Moriarty, author of The Chaperone, will be speaking about her new book in and near Chicago on June 9, 10 and 11. This should be a neat event, as Louise Brooks visited and once lived in Chicago. She also danced there (as a member of Denishawn) in the mid-1920s, and then again as a ballroom dancer in the early 1930s. Here are a couple of her events. Check the websites for details.

Saturday, June 9 and Sunday, June 10
Printer’s Row Lit Fest
Talk location & times TBD
Moriarty will be a panelist on "Her Story," with Claire McMillan, Margot Livesey and Francesca Segal, moderated by Gioia Diliberto, 11:15 a.m. Saturday, Wyndham Blake / Burnham Room.

Monday, June 11
Women Writers Series
sponsored by The Book Stall at Chestnut Court
12:00 pm at Avli Restaurant
566 Chestnut Street, Winnetka

Want to learn more about The Chaperone and its connection with Louise Brooks? Be sure and read this interview with Laura Moriarty on examiner.com. And check out this related piece on the Huffington Post.

Thursday, June 30, 2011

A Girl in Every Port to show in Chicago

The seldom screened 1928 Louise Brooks film, A Girl in Every Port, will be shown in Chicago, Illinois on Friday, July 22. This special screening, with live organ accompaniment by Jay Warren, is being put on by the Silent Film Society of Chicago. More info on the event can be found at my Louise Brooks column on examiner.com

When the film first showed in the Windy City in February, 1928 the local newspapers praised both the film and Brooks' role in it. Arthur Sheekman, writing in the Chicago Daily Journal, declared, "Your correspondent, partial to all the McLaglen performances, had a grand time watching A Girl in Every Port, in which so much loveliness is contributed by that dark young venus, Miss Brooks." While the curiously named Mae Tinee, writing in the Chicago Tribune said, "Various damsels rage through the action, but to Louise Brooks falls, as should, the plum feminine characterization. She pulls it off in her customary deft fashion - and the enchanting bob in which she first appeared before the movie camera."

I wish I lived in Chicago. I would be there in a heartbeat!

The Silent Film Society of Chicago's "Silent Summer" Film Festival runs Fridays from July 22 through August 26 at the Portage Theater (4050 N. Milwaukee Ave.) in Chicago. More on the festival and the Silent Film Society of Chicago can be found at www.silentfilmchicago.com/

Tickets can be purchased in advance from the Portage Theater box office during event box office hours, or by calling 773.736.4050. Tickets are also on sale at City Newsstand, (4018 N. Cicero Ave.). Tickets are $12 on the day of show (excepting $17 for the special August 12 screening of Sunrise). Advance prices and student / senior discounts are also available.

Wednesday, May 19, 2010

Archives up for sale

As everyone knows, the print industry is on the skids. Newspapers and magazines are in trouble. Many have folded. And some are starting to sell off their assets - namely their archives, in order to raise cash and clean house.

Lately, two of the leading Chicago newspapers have started to sell off their photo archives. (Other newspapers from around the country are doing the same thing.) The two Chicago papers are The Sun-Times and The Tribune. Here is a recent article from the Chicago Reader about the Sun-Times and its sale of its photo archive. The article mentions that some of the images are being sold through eBay.

I have also noticed some Chicago Tribune images for sale on eBay, and elsewhere. Some of these images are vintage, some are contemporary. Some were common publicity phots, others were images taken by local news photographers. Two of the images I noticed were of Louise Brooks. Here is one of them.


Who knows what else will show up? Perhaps something unusual and interesting? Louise Brooks spent a little time in Chicago while married to a Chicago resident. She also danced there while a member of the Denishawn Dance Company. I have visited the city and its public library on more than a few occasions researching the actress. It has many connections with Brooks, and a rich history within film history. It was even home to Photoplay magazine.

Friday, January 1, 2010

Pandora's Box screens in Chicago Jan. 2

Tomorrow, on January 2, 2010 the Bank of America Cinema in Chicago, Illinois will screen a 35mm print of Pandora's Box. The screening will feature live electronic theater organ accompaniment by Jay Warren.


The film starts at 8:00 pm at Bank of America Cinema, which is located at 4901 W. Irving Park Rd., Chicago, IL 60641. Entrance is in the back. Admission is $5 or $3 if you're over 55 or under 10. Popcorn is a one dollar, parking is free.

The schedule of films for the first half of the year for the Bank of America Cinema can be found on its blog.

This event received a write-up by Michael Philips in today's Chicago Tribune. The author described Louise Brooks, who stars as Lulu in Pandora's Box, as "her own island of allure." The author also quoted Henri Langlois, director of the Cinematheque Francaise, who years earlier said this of the actress.

"Those who have seen her can never forget her. She is the modern actress par excellence....As soon as she takes the screen, fiction disappears along with art, and one has the impression of being present at a documentary. The camera seems to have caught her by surprise, without her knowledge."

Saturday, July 21, 2007

Beggars of Life to screen in Chicago

Beggars of Life (1928) will be shown in Chicago in August. Here is a link to an article mentioning the film and other silent films which are being shown over the course of the Summer.

Wednesday, June 20, 2007

Beggars of Life to screen in Chicago

The Silent Film Society of Chicago will screen Beggars of Life on August 17th as part of its summer film festival. For more info and a list of other silent films to be shown this summer, see http://silentfilmchicago.com/

Friday, January 19, 2007

Pandora's Box in Chicago

Mike Quintero sent word that Pandora's Box will be shown February 23rd at Northwestern University. The 1929 film, which stars Louise Brooks, will be screened with live musical accompaniment featuring Chicago jazz guitar virtuoso Andreas Kapsalis and his band. Here is what the film series website had to say about the film.
Friday, February 23, 8pm 
Pandora’s Box 
(G. W. Pabst, 1929, Germany, 110 minutes, 35mm)

Lulu (Louise Brooks), a sensual yet innocent showgirl, weaves a spell of sexual delirium that wrecks the lives of the men and women who fall in love with her. Ultimately a tragedy, the film follows her career and romantic exploits until her eventual destruction. Dramatizing the temptations of Berlin between the wars, Pandora’s Box is one of the classics of silent cinema. It also shaped the radiant on-screen persona of the legendary actress Louise Brooks. With her glossy black bobbed hair and glowing skin Brooks practically patented the “what have you done for me lately” look, becoming an icon of the 1920s.

Friday, June 4, 2004

Chicago research


Returned the other day from a work-related trip to Chicago, where I was attending the annual booksellers convention. While in the "Windy City," I spent some time researching Louise Brooks.
I spent a day and a half - about ten hours - at the Chicago Public Library. This is my third trip to the CPL. This time, I managed to more or less complete my survey of Chicago newspapers on microfilm. The papers I've looked at include the Chicago AmericanChicago Daily JournalChicago Daily NewsChicago Evening Post,Chicago Herald-Examiner, and Chicago Tribune. I found additional reviews for Brooks' Chicago-area Denishawn performances, as well as substantial coverage of her nite club appearances in the 1930's. I also dug up a number of film reviews, as well as a handful of other miscellaneous articles, including front page coverage of Brooks marriage to Eddie Sutherland! All together, a good haul. (I also browsed the stacks, where I found a bit of interesting material in a few different books.)
I spent about seven hours at the library at the University of Chicago. There, I was able to look at rare German, Soviet and Japanese film periodicals from the late 1920's and early 1930's. (The Russian and German periodicals were on microfilm. The Japanese film periodical - Movie Times - was a reproduction of the original in bound volumes.) I found a handful of illustrated articles in each periodical! The Russian and Japanese periodicals are especially rare - and it was exciting to actually browse them and find pictures and articles about Brooks and her films.
The University of Chicago library has a lot of microfilm, and I wasn't able to look at everything I wanted. I did spend a little time looking at other publications, including the Daily Worker (this socialist newspaper based in New York City yielded a couple of brief articles), the Charleston News and Courier (found a Denishawn review and a film article in this South Carolina paper), and the Joliet Herald News (found some advertisements for screenings in the 1920's in this Chicago-area paper). Citations for these and all of the above material has been added to the LBS bibliographies.
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