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Image Vol. 25, No. 1 March, 1982
Journal of Photography and Motion Pictures of the International Museum of Photography at George Eastman House
TABLE OF CONTENTS
BOARD OF TRUSTEES
1 Silent Films for Contemporary Audiences
7 Orchestral Accompaniment for Silent Films
17 Cue Sheets for Silent Films
EDITORIAL STAFF
Robert A. Mayer, Director
Robert A. Sobieszek, Director, Photographic Collections
Janet E. Buerger, Assistant Curator, Photographic Collections
Marianne Fulton, Assistant Curator, Photographic Collections
Bonnie Ford, Curatorial Assistant, Photographic Collections
Philip L. Condax, Director, Technology Collections
John B. Kuiper, Director, Film Collections
George C. Pratt, Curator of Film
Allan Bobey, Curatorial Assistant, Film Preservation
Morgan Wesson, Curatorial Assistant, Technology/Film Collections
Andrew H. Eskind, Director, Interdepartmental Services
Walter Clark, Special Consultant to the Director
Christine Hawrylak, Director, Public Relations
Linda McCausland, Darkroom Supervisor
Barbara Puorro Galasso, Darkroom Assistant
IMAGE is published for members by
International Museum of Photography at
George Eastman House, Inc.
900 East Avenue, Rochester, NY 14607
Single copies are available
at $3.50 each, plus postage.
Copyright 1982 by
International Museum of Photography at
George Eastman House, Inc.
All rights reserved. Printed in U.S.A.
Trustees
Robert A. Taub
Chairman
Andrew D. Wolfe
Nancy Kennedy
Vice-Chairmen
Bruce B. Bates
Treasurer
Sue S. Stern
Secretary
Colby H. Chandler
Walter A. Fallon
Robert B. Frame
Georgia Gosnell
Dr. Wesley T. Hanson, Jr.
Alexander D. Hargrave
Alan C. Hasselwander
A. Arendt Hopeman III
Harrison D. Horblit
Frank M. Hutchins
William E. Lee
Robert A. Mayer
Richard L. Menschel
Richard M. Ross
Robert P. Schwartz
Robert A. Sherman
Paul L. Smith
Joanna T. Steichen
W. Allen Wallis
Trustees Emeritus
Albert K. Chapman
Edward P. Curtis
Louis K. Eilers
Mark Ellingson
Sherman Farnham
Vincent S. Jones
William S. Vaughn
Marie Curran Wilson
Honorary Trustees
Berenice Abbott
Ansel Adams
George Cukor
Andre Kertesz
David H. McAlpin
Beaumont Newhall
Cover: Lon Chaney and Mary Philbin in
THE PHANTOM OF THE OPERA (1925).
Back Cover: The Eastman-Dryden Orchestra,
Dr. Donald Hunsberger, Conductor.

Silent Films for John B. Kuiper, Ph. D.
Contemporary Audiences
Museums like George Eastman
House are places where the
communicative and artistic achievements
of the past can be made to
take on new life and reach newer
audiences. This is the belief behind
the recent showings of featurelength
silent films with orchestral
accompaniment in the Museum's
Dryden Theatre. There is, I believe,
something more than mere nostalgia
in the present nation-wide interest in
seeing such film recreations. Silent
features, at least American features,
are not morally ambiguous. Their
heroes are clear-cut and the villains
are unmistakable. Furthermore, the
performers in these films were not
afraid of emotions or of the display
of them. Perhaps this is because the
world of these films is an orderly
place, constructed in the belief that
virtue will be rewarded, suffering
alleviated, and villainy punished by
the end of the picture.
Although the world of these
films is a visually simplified one, it is
probably this very simplification and
the resulting concentration in their
visual form that makes them appealing
to an audience. They give us
morality and romance in a structured
and authentic manner, and they do
this superbly well, achieving at best
an archetypal purity of emotional
response from an audience. It is
because of this purity of their form
and of the emotions they seek to
evoke that the presence of a musical
accompaniment is so important to
the successful screen recreation of
them.
Elsewhere in this issue Donald
Hunsberger explores the fascinating
task of recreating appropriate music
for silent films. It is the purpose of
this article to explore the pictorial
problems of technology, taste and
judgment that go into the recreations
of silent film performances before a
live audience.
John B. Kuiper is Director, Film Collections,
International Museum of Photography at
George Eastman House.
Technological Problems
Unfortunately, the world of the
silent film available to contemporary
audiences is not large. In fact, it is a
frighteningly small world because of
the inevitable chemical deterioration
of the original film base on which all
silent, theatrical motion pictures
were produced. 1 Thus, in the initial
stages of programming, the actual
physical existence and, then, the
exact state of visible deterioration
must be thoroughly investigated.
Most silent films listed in indexes of
the motion picture trade press no
longer exist; and many others remain
only in partially preserved, unprojectable,
but fortunately stable master
copies in the vaults of film archives.
Although it would be ideal to show
contemporary audiences original,
silent release prints after preservation
copies have been made, this has
become exceedingly difficult now
because of the shrinkage of these
prints and the lack of adequate projection
facilities in our country. 2
Given the problems of locating silent
titles and of finding or making satisfactory
new copies, it is easy to
understand why the attitude "It's so
old you're lucky to see anything"
reigns supreme in many archives
and cinematheques here and
abroad. 3 It is against this attitude that
the recreations of silent films at
George Eastman House stand. The
silent film was primarily a visual art
and depends upon its photography.
Without it, only a series of titles
remains.
But the search for silent films
with beautiful pictorial quality is a difficult
one, and some compromise
with absolute photographic quality
standards is usually demanded. For
example, in the George Eastman
House presentation of THE PHAN­
TOM OF THE OPERA (1925) sections
of the 35mm acetate print used
show some darkening and mottling
of the image due to deterioration. All
existing prints of this film show this
deterioration but fortunately for the
narrative of the picture it happens in
the scenes of the underground caverns
where the Phantom takes his
victim. It is easy for audiences to
accept because of the dark, damp
underground atmosphere depicted
there.
A more serious compromise
usually required arises from the lack
of color tinted preservation copies.
Silent features were usually produced
with color tinting and toning
in mind. The Eastman House original
nitrate copy of PETER PAN (1924) is
printed on two colors of tinted base,
one is a warm sepia and the other is
cool and bluish used for the scenes
at night when Captain Hook fights
the Indians and captures Peter,
Wendy, and the boys. During the
programs of PETER PAN organized
by George Eastman House at the
Chicago International Film Festival in
1981, the sepia color was simulated
by using very thin, gelatine filters
placed over the projection lens.
Because the night-like blue color
sequences alternate with the sepia
sequences it was not practical to
simulate the blue tinting. When
nitrate copies of THE PHANTOM OF
THE OPERA were still available a

eport from a viewer suggested that
the sequences underground were
tinted a watery green. In the Eastman
House recreation the last section
of the film is tinted a light bluegreen
by filters and the earlier
sections were tinted sepia. In addition,
the sequences where the Phantom
appears on the steps inside the
Paris Opera during the masked ball
were tinted red, and the sequences
in the overheated underground vault
were tinted an acid yellow. 4 These
experiments using filters for tinting
should be considered expedients,
useful to help audiences respond as
did original audiences, but not definitive
recreations. The best methods
of restoring color to silent features
are very costly. It involves making
new acetate prints on color stock
and thereby introducing colors by
printing or making new black and
white prints and tinting the
sequences by dye baths that stain
the gelatin emulsion. At the present
time both procedures are too costly
in staff time and in money to be
practical.
Another compromise that must
often be faced in reconstructing
silent features involves assessments
of completeness. Because of nitrate
deterioration mentioned earlier and
sometimes because silent films were
re-edited when released again, many
surviving copies are not complete.
Sometimes the only surviving copy
of a feature film is a much used and
frequently repaired release print.
Each repair is usually an indication
of an omission. Some surviving
prints have had additional footage
added but most have been shortened.
Attempts must be made to
ascertain the initial release length,
and the length of the surviving
copies must be compared to this figure.
When discrepancies in these
lengths are noted, the surviving
prints must be checked for continuity.
This is not always a rewarding
procedure for some films were
released in several versions, one for
foreign audiences and another for
American audiences, for example, or
the director of a silent film may have
actually re-edited the film several
times himself. 5 These circumstances
may make the preparation of a definitive
version difficult or almost
impossible.
There are several technical matters,
however, upon which little compromise
should be permitted. Whenever
possible silent films for large
audiences should be shown in the
format in which they were produced.
This means that 35mm prints, hopefully
made from the best surviving
master materials, should be used.
When such high quality prints are
projected, silent films compare with
the best black and white cinematography
we can produce today. Two
aspects of projection must also be
considered and admit of little compromise.
First the correct, silent
aperture must be inserted in the projector
(aspect ratio ca., 1.36:1). Otherwise
the image will appear
reduced in format and off-center.
The film must also be projected at a
rate of speed as close as possible to
what was called for when it was originally
released. Because aperture
plates of 1.36:1 are not common
equipment in many projection
booths, additional aperture plates
may have to be purchased or existing
ones filed out. This is not a difficult
task for a projectionist, but it
requires advance notice and some
time to locate or order and modify an
appropriate aperture plate. Much has
been written about correct film projection
speeds, and music cue
sheets for silent films act as a reliable
guide to the appropriate speed
to be used for many surviving films. 6
Unfortunately, most 35mm projectors
have to be modified to project at
anything but 90 feet a minute (i.e.,
sound speed of 24 frames per second
for 35mm films). But this speed
is quite close to the appropriate
speed for many silent feature films. 7
Consequently, the problem of speed
arises most acutely when films earlier
than about 1922 are being projected.
In this case the film to be
used should be projected as a test
and a speed chosen that does not
appear to distort the actions
depicted. In the George Eastman
House reconstructions of TEDDY AT
THE THROTTLE (1917), preliminary
viewings indicated that a much
slower speed was needed for the
action on the screen to register on
the audience and for the titles to be
read. Eventually a projection speed
of 18 frames per second was chosen
(the equivalent of 67.5 feet per minute
in 35mm).
Problems of Taste and Judgment
Although the enthusiastically
attended performances of NAPO­
LEON (1927) accompanied by a
large orchestra are welcome events,
in general the revival of silent films
has not proceeded in a very orderly
fashion. Thus far only the biggest
name stars or the most spectacular
productions have been offered. The
goals of this Museum's program of
silent film performances with live
music include the creation of a
group of screenings that add to the
knowledge of the development of
silent film as a form of art, entertainment,
and communication.
Thus far the Museum has successfully
presented THE LAST COM­
MAND (1928), PETER PAN (1924),
PHANTOM OF THE OPERA (1925),
TEDDY AT THE THROTTLE (1917)
and HER HUSBAND'S TRADEMARK
(1922) and is delighted to see these
recreations travel to other audiences
outside Western New York. But more
titles of a greater variety should be
added to this list so that audiences
can come to know and appreciate
the special and unique strengths of
silent filmmaking. The rather obvious
omissions in the revival of silent films
are the films of William S. Hart, the
early films of Eric von Stroheim, the
domestic films of Cecil B. De Mille
before he began to produce Biblical
epics, the films of Thomas Ince, a
pioneer in the development of the
studio system, and some of the littleknown
films of Dorothy Gish, Clara
Bow, Richard Barthelmess, Valentino,
Lon Chaney, and John Gilbert.
4

Less obvious because of their more
complete neglect are the short films
produced before the 1914-1918
period when feature films became
important. These films, many of them
no longer than two reels, were made
on low budgets with small crews,
casts without stars, improvisation in
the directing, and many outdoor
locations. In this category, one thinks
immediately of the short Biograph
films of D. W. Griffith who made 495
of them before he made his first feature-length
production.
The real question and probably
the central problem in expanding the
group of silent films now assembled
for programs at George Eastman
House and elsewhere is whether
older films of many types have
enough appeal to nonspecialized
audiences. Silent films are usually so
constructed that they make demands
upon our concentration that are no
longer habitual with us. 8 We are
much more used to the interruptions
of household activities (television)
and to the poor and distracting quality
of movie theatre operations (hearing
people talk and eat near us in a
theatre) than we are to focusing our
undivided attention on a non-talking
screen. 9 But it is exactly this type of
attention that most silent films
demand. This is because the silent
film is an art form separate from the
sound film, and audiences need to
attend to and relearn the conventions
by which they were made. Fortunately,
it is not that hard a thing to
relearn, and audiences at the Dryden
Theatre screenings of silent films
with live orchestra regularly report to
the conductor comments like, "Your
music was so good I completely forgot
about it and the orchestra after
the first five minutes." Such statements
are testaments to the validity
of the selection and performance of
the music but they are also indications
that a silent film, properly presented,
is still able to challenge our
delight and speak very directly to our
emotions.
5

Notes
1.
Of the approximately 29,000 feature films
made in the United States and registered for
copyright between 1894 and 1930 it is likely
that only 15-25 percent survive today and of
these quite a few show signs of deterioration
that impairs their enjoyment by audiences.
2.
One of the first signs of deterioration of a
nitrate original is shrinkage which makes projection
difficult and more of a hazard. There
are five cities in this country in which original
nitrate release prints can be safely shown on
a regular basis: Rochester, N.Y, New York
City, Washington, Los Angeles, and San
Francisco-Berkeley.
3.
The attitude described is reported by Kevin
Brownlow in a letter to the Editor of American
Film, September 1981, p. 10. In his letter Mr.
Brownlow traces the attitude to laboratories
and the difficulty of obtaining excellent black
and white printing. Black and white motion
picture stock is now as expensive as color
and many laboratories no longer process or
print black and white films.
4.
Some original prints of THE PHANTOM OF
THE OPERA used a two-color Technicolor
sequence when the Phantom appeared on
the steps.
5.
D. W. Griffith is reported to have done extensive
revisions on his film INTOLERANCE
(1916) between road show screenings.
6.
See the introductory comments of George
Pratt to his list of music cue sheets in this
issue of Image.
7.
See the article by James Card, "Silent-Film
Speed," Image, IV, 7; October 1955.
8.
This point and many others about the need to
see more silent films are illustrated and
explored by Richard Schickel in "The Silents
Weren't Just Voiceless Talkies," The New
York Times Magazine, November 28,1971, p.
32 ff.
9.
The awful level to which commercial theatre
operations have fallen is dishearteningly
described by Ronald Haver in, "The Perils of
Moviegoing," American Film, May 1981, p. 46
ff.
6

Orchestral Accompaniment
for Silent Films
The first quarter of this century
witnessed the artistic and technical
development of the silent film
with accompanying musical voicespiano,
theater organ, and varying
instrumentations of the theater
orchestra. The 1980s afford us little
opportunity to comprehend the
wonders of those accompaniments
for early film audiences. So much of
daily life today is accompanied by
background music piped into factories,
offices, elevators, and shopping
centers; it is also constantly
employed on radio and television.
Today there is practically nothing
that comes without music!
The challenge of reproducing
silent film presentations with a live
orchestra as practiced from approximately
1910 through the end of the
1920s was undertaken by John B.
Kuiper, Director of Film Collections,
George Eastman House, in cooperation
with the author and the Eastman
School of Music of the University of
Rochester.
Following preliminary discussions
in the fall of 1980 regarding
films to be presented and the type of
orchestra capable of performing
in the Dryden Theatre, the project
began in earnest with the film THE
LAST COMMAND (1928), directed
by Josef Sternberg and starring Emil
Jannings. The selection of music
appropriate to the film and the
process of synchronization presented
problems solved eventually
through experimentation, and corroborated
through research in archives
both at George Eastman House, the
Sibley Music Library of the Eastman
School, and the School's Ensemble
Library. Although the period of silent
films has long since past, writings of
Donald Hunsberger, conductor of the
Eastman-Dryden Orchestra, is professor of
conducting and ensembles at the Eastman
School of Music. Since he became conductor
of the Eastman Wind Ensemble in 1965, the
ensemble has toured widely and has
recorded on a variety of labels. He is
executive secretary of the National Center for
the Symphonic Wind Ensemble, which he
founded at Eastman in 1973.
Donald R. Hunsberger, DMA
musicians then working in theaters—
and actual interviews with some of
them—provided much guidance.
The Eastman-Dryden Orchestra
is the result of the collaboration
between George Eastman House
and Eastman School. Its members
are drawn from Eastman School
upper class and graduate students
who are members of the Eastman
Philharmonia and/or Eastman Wind
Ensemble. The Eastman-Dryden
Orchestra is an ensemble of ten to
twenty performers, its size and
instrumentation depending upon the
requirements of the musical score
selected for each film. The project
opened in October, 1980, with THE
LAST COMMAND (1928) and has
since included THE PHANTOM OF
THE OPERA (1925) starring Lon
Chaney, PETER PAN (1924) with
Betty Bronson as Peter, HER HUS­
BAND'S TRADEMARK (1922) and
TEDDY AT THE THROTTLE (1917)
both featuring Gloria Swanson. Currently,
research and music scoring is
being done for presentations of
Douglas Fairbank's ROBIN HOOD
(1922) and LAUGH, CLOWN,
LAUGH (1928) starring Lon Chaney.
In the music scoring process,
several philosophical questions must
be answered before actual musical
excerpts are assigned a role in the
film accompaniment. These questions
are part theatrical, part psychological
and part practical in
realization:
1. Should the music reflect an
overall impression of action, location,
mood, personality, or specifically
highlight each short, individual
turn of events in the film?
2. Should an identifying theme
be given to each character or event
as a helpful reminder to the
audience?
3. How much silence should be
maintained? Is music to be continuous
or should "breathing spaces" be
inserted?
4. How does one treat subtitles,
the cards inserted in the film to provide
narrative descriptions and
dialogue?
5. What music is appropriate for
an orchestra of approximately fifteen
to eighteen performers (the average
size ensemble used thus far)? Is
standard classical repertoire suitable
and available in orchestrations for a
small orchestra?
6. How will an audience of the
1980s react to serious silent film acting
and direction when most viewers'
experiences have been restricted to
occasional Sennett, Chaplin, or Keaton
comedies, usually projected at
sound speed rather than silent
speed?
7. Will contemporary musicians
have an interest in reproducing this
lost art form, and, most importantly,
will they be able to rapidly assimilate
the techniques of performing short
cues with numerous music changes?
Fortunately, two experiences in
silent film accompaniment had taken
place locally during the 1970s. The
first was a presentation of PETER
PAN conducted by Rayburn Wright
as part of the Rochester Philharmonic
Orchestra's fiftieth anniversary
in 1972, an event stage directed by
the author. Wright provided a musical
accompaniment by using a cue
sheet issued with the original film
and adding original material as
needed. An organ played the accompaniment
for part of the film, as well
as accompanying other show features.
The second event was the
inclusion of TEDDY AT THE THROT­
TLE in an Eastman School concert
with a score assembled by the
author and colleague Philip West.
These two experiences and several
literary sources in the Sibley Music
Library provided the foundation for
the first scoring project—THE LAST
COMMAND. The library sources
included Musical Accompaniment of
Moving Pictures by Edith Lang and
George West (1920); How to Play the
Cinema Organ by George Tootell
(1927), The Technique of Film Music,
first edition by Roger Manrell and
John Nuntley, revised by Richard
Arnell and Peter Day (1975); Film
Music by Kurt London (1936); and
the comprehensive doctoral thesis

y Charles Merrell Berg—"An Investigation
of the Motives for and Realization
of Music to Accompany the
American Silent Film, 1896—1927"
(1973). While each of these volumes
provided invaluable information on
philosophies and practices of silent
film scoring in the early 1900s, nothing
can replace the actual experience
of viewing, timing, analyzing,
and musically describing the action
and dramatic moods of a silent film.
This article reflects the experience
and historical background of this
activity.
Philosophical Music Scoring
Considerations
As early silent films progressed
in length and complexity from onereel
short subjects to multi-reel presentations
involving inventive scripts
with artistic cinematography, imaginative
sets and costumes, and an
increasing awareness of the power
of the camera to record and project
a high level of human awareness, so
did musical accompaniments grow
from parlor or popular favorites to
scores integrated into the emotional
action of the film.
The beginnings of silent film
accompaniment around the turn of
the century found pianists, organists,
and small ensembles performing
whatever music happened to exist in
their own particular repertoires—irrespective
of the specifics of the individual
film. Frequently the purpose of
this music was to mask noise from
the projector or from outside the
tent, store, or building in which the
projector had been placed. The performer
eventually gained numerous
aids and publications to assist in the
search for musical suggestions and
in the technical analysis of the films
released each year. One of the earliest
aids arrived in the form of general
scoring suggestions (without
specific music suggested), issued by
the Edison Company in 1909
through a promotional publication
titled the Edison Kinetogram. This
was followed in 1910 by a column
edited by Clarence E. Sinn in the
magazine Moving Picture World in
which suggestions for accompaniments
and musical approaches to
specific films were offered. Another
similar aid was written by Ernest Luz,
a silent film music pioneer, in the
publication Moving Picture News.
These efforts were directed
toward unifying the quality and style
of accompaniment through discussion
of film techniques related to
musical moods, emotions and specific
repertoire.
Scoring Title Cards
and Scene Changes
The techniques of playing up to
or into the appearance on screen of
title cards in the course of a film presents
several questions. Available
options include:
1. closing the previous scene on
the fadeout with a tenuto (hold) in
the music, or slowing the pace to
segue (cut directly) into the title
card.
2. playing part way into the title
card and then changing the music
for the next action.
3. playing completely through
the title card and changing the
music as the action resumes. This
style works particularly well when
the title card gives a narrative or
exposition between two similar
scenes.
In earlier days musicians were
guided by the writings of several of
the prominent film accompanists.
Clarence Sinn wrote in Moving Picture
World in 1911 that "music
should be played through the subtitle
and changed with new action."
Since the subtitle may change the
mood or atmosphere, or further
explain the action through dialogue,
Sinn was suggesting the continuity
from the previous scene through the
subtitle was more important than
closing the scene musically and
starting anew on the subtitle.
The following year Ernest Luz
wrote in Moving Picture News:
"Music should not accompany
action on the screen, but should
anticipate it, thereby temperamentally
preparing the audience for the
ensuing action." This change from
reflective approach to a preparatory
approach also found practical
usage; George Beynon noted in one
of his books that "changing selections
at the subtitle gave musicians
opportunity to put up new music
without running into the next scene."
Hugo Riesenfeld, who compiled
scores for THE COVERED WAGON
(1923), TEN COMMANDMENTS
(1923), and KING OF KINGS (1927)
cautioned score compilers to avoid
attempting to synchronize the music
too closely to the entire picture at
the risk of losing the melodic line.
The next step in improving the
performance of the musical accompaniment
was the music cue sheet
prepared and issued by music publishers
in cooperation with the film
studios. Max Winkler and S. M. Berg
were pioneers in this movement,
which soon spread to include all of
the major studios in cooperation with
a number of publishing houses.
The Cue Sheet
The cue sheet (see Figures
1—cue sheet for PETER PAN; music
manuscript for each cue; 2—cue
sheets for THE HUNCHBACK OF
NOTRE DAME; no music manuscript
is provided though suggestions for
specific compositions are given)
generally provided the following
information on its film:
1. a breakdown of each scene
with identification of the start of each
segment by action or subtitle
2. timing of each scene
3. the mood or atmosphere of
the scene
4. suggestions for music. Later
cue sheets contained actual musical
incipits (excerpts) for more complete
identification or suitable substitution
of material.
5. length of footage of the entire
film, overall maximum projection
time, and the projector speed to be
utilized.
The advantages to film producers
were immediately apparent.
Local performers had the opportu­
8

nity to accompany the film in the
manner of performance at metropolitan
theaters with orchestras, musical
directors, and library staffs. Unfortunately,
the cue sheets didn't always
arrive in time for the local music
director to study the suggestions or
to be able to assemble the musical
materials requested; also, the music
listed was frequently unavailable
locally, or was too difficult technically.
In addition, the film may have
had sections removed (through damage
or censorship), thus negating
timings and synchronization. Prepared
timings did not allow for an
individual interpretation and rubato
performance (deviation from a
steady tempo), thus restricting the
artistic license which could have reasonably
been taken by local musicians.
Last of all, a cue sheet would
be prepared by a publisher to lead
the local performers to the publisher's
own music catalog!
What was the music suggested
for these films? How was so much
material assembled or written in
such a short period of time? A breakdown
of the fifty-seven cues suggested
on the original cue sheet
issued by Belwin, Inc. (now Belwin-
Mills Music Publishers, NYC) for THE
PHANTOM OF THE OPERA (1925)
reveals that twenty-two of the works
are compositions composed specifically
for use in silent accompaniment
while the remainder came from the
opera Faust by Charles Gounod,
which in the film's plot was the production
taking place at the Paris
Opera House. Several of the cues
are repeated while the action centers
upon individual characters and their
recurring relationships. These short,
musically-anonymous works were
written with an inherent flexibility and
character capable of reflecting whatever
action or atmosphere occured
on the screen. Composers of popular
cue selections included Paul Vely,
Gaston Borch, Ernest Luz, Irenee
Berge, Sol Levy, Maurice Baron, Max
Winkler, Ross Jungnickel, Domenico
Savino, Leo Kempinski, among
others.
Publishing firms supplying
music cue publications included Carl
Fischer Inc., G. Schirmer, Luz Photoplay,
Photoplay Music Co., Hawkes
and Co., and LaFleur and Son of
England. One large German publication
issued in the United States, titled
Kinothek, was assembled by Guiseppe
Becce beginning in 1919.
An interesting approach developed
by Ernest Luz, called the Luz
Symphonic Guide, sold by Music
Buyers Corp., NYC, offered a colorcoded
repertoire list with a color for
each emotion or action. The music
director was encouraged to substitute
such color-coded compositions
whenever a repetition of a theme or
mood occured.
The next logical step was a
complete score compiled by composer/conductors
with instrumental
parts provided to insure yet a higher
level of musical continuity.
These compiled scores were a
mix of classical works, light orchestral
music, popular songs, and show
music with music cue composition.
The Complled Score
The compiled score was an
attempt to create a unified musical
background for a film, with an
accompaniment orchestrated for the
9

standard theater orchestra which
offered more continuity than was
usually found when a local orchestra
attempted to assemble a pastiche of
cue sheet suggestions. Joseph Carl
Breil, an early composer/compiler,
became best known for his work
with D. W. Griffith on the score for
BIRTH OF A NATION (1915).
(George Eastman House has a copy
of this rare musical setting in its
archives.) Previous to this production,
Breil prepared scores for
QUEEN ELIZABETH, a French Film
d'Art production in four reels starring
Sarah Bernhardt, one of the earliest
feature length films shown in
America (Lyceum Theatre, NYC, July
12, 1912), and the Italian film
CABIRIA (1913).
In addition to Breil, another pioneer,
George Beynon, wrote scores
for Paramount films which were published
by G. Schirmer, Inc., NYC. He
assembled 116 film scores from 1915
to 1921. Other pioneer score compilers
were Victor Schertzinger, (who
wrote for Photo Play Company), William
Axt, and David Mendosa.
The score for BIRTH OF A
NATION was remarkable in many
ways. Griffith and Breil spent over
two months selecting, composing,
and scoring music for the film utilizing
the leitmotif philosophy. This was
the first time that a complete musical
accompaniment was made under the
supervision of the film director, and it
helped establish the possibilities of
cue music beyond the use of only
that music available or technically
performable by local musicians. Griffith
also participated in the preparation
of scores for INTOLERANCE
(1916) and WAY DOWN EAST
(1920).
This film score also led to the
use of larger orchestras; the Los
Angeles debut had forty instrumentalists
and twelve singers, and a New
York City revival in 1921 at the Capitol
Theater employed ninety
musicians.
The most difficult task in setting
a film to broadly recognizable, published
music lies in the fact that one
12
cannot cut or abridge well-known
compositions, as this may be a
disruptive
element to the audience.
Thus, "anonymous" music cues give
a flexibility of beginning and closing
and the freedom to pause practically
anywhere, all the while sounding like
something the audience has heard
before.
An example of a theater orchestra
composition employed several
times by the Eastman Theatre
Orchestra in film accompaniment is
shown in Figures 3A and 3B. Several
items superimposed on page 1 by
the theater staff illustrate its usage:
the Projection Room stamp and
number 363, the handwritten "grand"
signifying full orchestra instrumentation,
and the dates stamped on the
bottom and right side show the frequency
of usage. (This is one of the
more frequently programmed music
cues and indicates approximately
the historical period for silent film
presentations in the Eastman
Theatre, with the April 22, 1923 and
December 29, 1928 imprints.)
The music is typical of silent
accompaniment cues in that the
melodic line is highly identifiable, the
harmonic background is rhythmically
pulsating, several sets of sequences
are offered, and a climax is reached
by the bottom of the page. The second
page begins with the same melody
and reaches an even stronger
point of musical climax, thus offering
the music director the option of playing
page one or just page two (or
both) depending upon the emotional
direction of the scene. Page three is
a contrasting Allegro (see Figure 3C)
which returns eventually to the melody
and mood of the opening
section.
At this particular point in THE
PHANTOM OF THE OPERA, Eric,
the Phantom, has taken Christine to
his living quarters many levels below
the Paris Opera House. He pleads
with her to accept him and his love.
She is terror-stricken and recoils
from his affection. The handwritten
comments on the page are titles (T)
or descriptive action of the film
which serve as timing and coordination
cues for the conductor. Figure
3C, the Allegro, shows an increase in
tension and movement as the
heroine discovers that Eric is actually
the dread Phantom, and thus the
musical pulse seeks to suggest
increased suspicion and fear.
Music for Solo Performers
Music for use by solo pianists or
organists was issued with moods,
action and emotional connotations,
and descriptive scenes supplied.
Publications issued during the silent
era include:
What and How to Play for Pictures
(1913) by Eugene Ahern
How and What to Play for Moving
Pictures (1913) by Lyle C. True

Musical Accompaniment of Moving
Pictures (1920) by Edith Lang
and George West
Musical Presentation of Motion Pictures
(1921) by George W.
Beynon
The Orchestral and Cinema Organist
(1922) by Kevin Buckley
Motion Picture Moods for Pianists
and Organists (1924) by Erno
Rapee
Encyclopedia of Music for Pictures
(1927) by Erno Rapee
How to Play the Cinema Organ
(1927) by George Tootell
Figure 4 is a page from Rapee's
Motion Picture Moods showing an
index of moods and actions to be
found in the book. This listing
appeared on each page to enable
the performer to find the next cue
quickly.
Early Original Scores
There were several early
attempts to create complete accompaniments
by a single composer, as
opposed to compiled or pastiche
scores which used works of
numerous writers. Some of these
original efforts included:
THE ASSASSINATION OF THE DUC
DE GUISE (1908), score by
Camille Saint-Saens. The score
eventually became his Opus
128.
ARRAH-NA-POQUE (1911), score by
Walter C. Simons, a piano and
four-piece orchestra score published
by Kalem Co. and sold to
exhibitors.
SAMSON (1914), score by Noble
Kreider, a six reel Universal Film
Co. production.
FALL OF A NATION (1916), score by
Victor Herbert, script direction
and production by Thomas
Dixon.
THE CURSE OF EVE (1917), score
by Louis F.Gottschalk.
FOOLISH WIVES (1921), score by
Sigmund Romberg, written and
directed by Eric von Stroheim.
PURITAN PASSIONS (1923), score
by Frederick Converse.
LA ROUE (1923), score by Arthur
Honegger.
LE BALLET MECHANIQUE (1924),
score by George Antheil.
FAIT DIVERS (1924), score by Arthur
Honegger.
13

OPUS III (1925), score by Hanns
Eisler.
FELIX LE CHAT (1927), score by
Paul Hindemith.
NAPOLEON (1927), score by Arthur
Honegger.
ACTUALITES (Newsreel) (1928),
score by Darius Milhaud.
LA PASSION DE JENNE D'ARC
(1928), score by Leo Pouget and
Victor Allix, instrumentation by
E. Menthehen, directed by Carl
Dreyer.
LA PTITE LILI (1928), score by
Darius Milhaud.
Eastman Theatre Presentations
In the 1920s the Eastman
Theatre presented shows five times
a day with three of the shows, the
"Deluxe Presentations," accompanied
by the orchestra and organ. The
other two shows were performed on
the Theatre's Austin organ, the largest
such organ in the world. The
stage had three elevators and was
an ideal presentation area for opera,
ballet, pantomime, and various tabloids
in addition to concert performances
and musically accompanied
films.
The musical requirements for a
typical week might have included:
1. Overture. The policy of the
Theatre was not to repeat an overture
in less than three months.
2. Weekly News Magazine. A
wide variety of cues was needed as
the film subjects were usually quite
short and very topical. News subjects
would include:
a. military or patriotic, civic
occasions (martial music, national
anthems)
b. weddings, funerals, etc. (Chopin,
Beethoven, Wagner)
c. fashions of the day (popular
tunes, intermezzos, caprices, agreeable
salon orchestra music)
d. airplanes, ships, races
(waltzes, galops, etc.)
e. sporting events (college
songs for football, sound effects for
baseball, etc.)
f. industrial, agricultural
(regional, ethnic)
3. Travelogue. These short film
subjects contained opportunity for
music other than merely nationalistic
or ethnic styles; weather, mountains,
ocean scenes, children playing, local
dances may be included.
4. Comedy shorts, comedy
drama, animated cartoons, slapstick.
Bright arrangements of popular
tunes, dance music, "hurry music,"
many sound effects.
5. Ballet scenes. The resident
ballet company performed frequently
with the orchestra playing works
from the standard classical
repertoire.
6. Opera scenes. Solo and
ensemble selections were interpolated
into the weekly show usually in
a theme consistent with a mood
established for the entire show.
7. Tableaus, pantomimes, specialty
presentations. Theatrical-type
acts, harp ensemble, jazz ensembles,
percussion features.
Music Library Resources
During the scoring of the films
for presentation in the Eastman-
Dryden project, an attempt has been
made to utilize music published prior
to the release date of each film—thus
providing a historical element to the
project. (A search of the Eastman
Theatre programs in the 1920s failed
to produce evidence of films being
repeated which would, of course,
grant some leeway on music publishing
dates.)
The availability of music for
accompaniment was of concern at
first, but all fears were soon allayed
as the total collection of material
became known. The combined
library resources at the Eastman
School comprise several different
collections:
1. The Gray Library—a collection
of 718 compositions for salon
and theatre orchestra plus specific
silent film cue publications. These
cues and orchestral works are primarily
short in nature (one to four
minutes) and each is dated by the
original Eastman Theatre library staff
with each usage in a film background
or stage show.
2. Orchestral Music—now numbering
over 8,000 compositions, this
library contains large-instrumentation
classical works for full symphony
orchestra and has been used
by the Eastman School orchestras
and the Rochester Philharmonic
Orchestra since their inception.
There were approximately 5,500
works in this collection by the end of
1928 when the silent film era was
closing. Those works used in film
presentations also were stamped
with a date. It also contained many
settings of popular music scored for
large orchestra and show music thus
illustrating tastes of the day (it is
interesting to note that the library
contains 116 works by Victor Herbert
alone!).
3. Oscar J. Fulreader Collection—presented
to the Sibley Music
Library of the Eastman School of
Music in 1962 (and subsequently
deposited in the Ensemble Library)
by Mrs. Fulreader in memory of her
husband, this collection numbers
over 3,700 published compositions
for theatre orchestra. (A cataloging
of the music is currently in progress.)
This library contains dance tunes in
many styles, i.e., foxtrot, tango,
lancer, quadrille, waltz, plus
marches, nationalistic selections and
large-scale arrangements of show
tunes. Mr. Fulreader was employed
by Eastman Kodak during his lifetime
and pursued collecting and performing
music as a hobby.
4. A jazz/dance band collection—Ms
grouping is in two parts: a
grouping of ninety-seven waltzes and
1,708 foxtrots and similar dances
published between 1921 and 1930,
and a collection of 1,700 jazz/dance
band publications released after
1930. Each work is scored for saxophones,
trombones, trumpets,
strings, and rhythm section in what
is known as a "stock arrangement,"
a style of writing effective for performance
with just a few instruments or
the entire ensemble.
The combination of these library
resources at Eastman and the large
14

cue sheet collection described by
George Pratt elsewhere in this volume
produces one of the world's
largest collections of usable, available
material for restoration work in
the silent film area.
The primary importance of
these collections lies in their current
employment to improve the awareness
and appreciation of a portion of
our cultural past by today's
audiences.
Modern Day Performance
Once philosophical and music
cue scoring questions were
answered (and a full discovery was
made of one of the largest libraries
in the U.S.), the only remaining
obstacle lay in procedures for performance
and the actual accompanying
of the film itself.
As mentioned earlier, the Eastman-Dryden
Orchestra consists of
undergraduate and graduate students
at the Eastman School of
Music. The students were found to
be technically adept at learning the
cues quickly; in addition, they
possess and exhibit an enthusiasm
toward our historical restoration project.
(They always wish to preview the
films before the first performance to
ascertain how the various music
cues fit or underscore the moods
and action.)
The equipment necessary for
performance has been relatively simple
in nature—solid back music
stands equipped with stand lights
(with blue gel sheets over the bulbs
to contain the light on the music and
not allow it to spill into the audience
or upon the screen where it might
wash out the black and white photography).
Percussion sound effects
(traps, as they are called) have been
more difficult to locate since background
sounds are usually tape
recorded today from live sources
(bird calls, trains, boats whistles, airplanes,
etc.) The once-common,
large "orchestral" theatre organ had
all of these traps built into the instrument
so as to be completely selfcontained
for any requirement.
The most interesting facet of the
music performance is the actual
coordination by the conductor of the
cues with the film. If the film has
been edited well and scenes flow
one into another and into title cards,
it is possible to open and close each
scene with a musically satisfying
score. If, on the other hand, the film
is not edited well or, as in the case of
many of these rare copies, has been
spliced due to deterioration, the
coordination or synchronization
becomes difficult. An example of this
occurs during the opening of HER
HUSBAND'S TRADEMARK when a
dance orchestra and dancers are
intercut between scenes of conversation.
Normally, scoring methodology
would suggest playing a suitable
dance arrangement of the period
behind both dancers and conversationalists
until either the action
changes or a title card suggests a
change. Unfortunately, the dance
band is shown stopping its performance
as one dance ends, and five
to six seconds pass before the band
resumes playing. This would be possible
to illustrate literally at the piano
or organ, but is almost impossible to
perform with a large orchestra playing
from printed music; thus, the
advice offered earlier by the various
15

silent music directors concerning
playing the overall effect versus
exact synchronization is employed.
Another element of musical concern
is musical interpretation versus
metronomic (strict by rhythmic
beats) performance. The music cue
shown in Figure 3A and 3B is an
excellent example of the short
underscoring selection which
matches the action on the screen.
The scene, as previously described,
begins slowly with Christine examining
the rooms in which Eric livesbizarre
in nature, compatible with his
warped and twisted mind. Slowly his
story is told and one begins to
develop a feeling of sadness and
compassion for this man who has
turned bitter against the world. Similarly,
the music selected begins very
simply and does not reach a climax
until the point where Christine finally
realizes that Eric is indeed the dread
Phantom. It would be musically very
unsatisfying to perform, or hear, this
dramatic music without an emotional
interpretation (in the best style of the
Romantic period of the nineteenth
century) involving rubatos (deviations
from strict tempo), changes in
dynamics, increased intensity in the
sequential melodic patterns, and
finally a climactic ritard (slowing) at
the height of the emotional action. To
include this emotional interpretation,
the music director must from the
start take these rhythmic deviations
into account when timing the music
for the scene. Otherwise, a straight
performance will leave a period of
silence at the most crucial moment.
When taken out of the context
of reinforcing the visual impact of a
film, much of this music may appear
diminutive in quality. But when
applied appropriately to emotional
development, descriptive background,
comedy support, or stimulating
action, the music assumes a
position of importance in music history
equal to that of music of other
periods produced for specific events
or purposes.
The only obstacle faced by the
orchestra lay in the multiplicity of
16
cues for each film and the speed
with which they had to change. In
early silent days, the orchestra
members played an individual cue
and then changed sheets of music
on their stands to the accompaniment
of the pianist who played a
modulatory bridge. As scoring techniques
developed, compiled and
original scores illustrated that
accompaniment could have an identifying
flow (just as the editing of the
film had a flow) and thus music cues
became more subtle in nature and
performance. The ninety-seven cues
during the 100-minute-long PETER
PAN are an example of extreme use
of material short in length with many
repeated leitmotif themes for Peter,
Wendy, Mother, Tinker-bell, Captain
Hook, the Crocodile, etc. By comparison,
the forty-eight cues for PHAN­
TOM provided a more sweeping view
of the scenes and the emotional
content.
Our historical reproduction project
attempts to make use of the best
of the musical thoughts developed
during the silent era and to apply
them to the art of accompaniment
with the advantage of our presentday
skills. The ultimate goal is the
reenactment of a vital and communicative
performance for audiences of
the 1980s who possess backgrounds
and experiences in film, music and
theater which are quite different from
those of the audiences six decades
ago.
Bibliography
Berg, Charles Merrell. An Investigation of the
Motives for and Realization of Music to
Accompany the American Silent Film 1896-
1927. Unpublished doctoral thesis, University
of Iowa, 1973; reprint edition N.Y. Arno Press,
1976.
Eisler, Hanns. Composing for the Films. New
York: Oxford University Press, 1947.
Lang, Edith and West, George. Musical
Accompaniment of Moving Pictures. Boston:
Boston Music Company, 1920; reprint edition,
New York: Arno Press, 1970.
London, Kurt. Film Music. Translated by Eric
S. Bensinger. London: Faber and Faber, 1936.
Manvell, Roger and Huntley, John. The Technique
of Film Music. New York: Hastings
House, 1957.
Porcile, Frangois. Presence de la musique a
I'ecran. Paris: Editions du cerf., 1969.
Rapee, Erno. Motion Picture Moods for Pianists
and Organists. New York: G. Schirmer,
1924; reprint edition, New York: Arno Press,
1970.
Tootell, George. How to Play the Cinema
Organ. London: W. Paxton, 1927.

Cue Sheets for Silent Films
George C. Pratt
Among the collections in the
Department of Film at George
Eastman House is an extensive file
of thematic cue sheets for silent
films, ranging in date from 1916
through 1930. These give suggestions
to the small town pianist or
organist as to what music to use during
the successive sequences of a
film, and are not to be confused with
the more ambitious scores assembled
for theaters in such cities as
New York, Chicago, and Los
Angeles.
Both the more adventurous
scores for the big towns and the
more conservative patchworks for
small town presentation drew on a
common heritage of "classical"
music, popular songs and ballads,
light classics, and those musical patterns
composed specifically for different
situations in films under such
categories as "hurries" and "misterioso."
But in the cue sheets there
was often assembled a parade of
unparalleled banality in parlor favorites,
which no one would want to
attempt to reproduce today, except
in the strict interest of history.
A score for THE POPPY GIRL'S
HUSBAND, with William S. Hart,
when shown at the Rivoli Theater in
New York in 1919, used a "short
movement from a suite by Moussorgsky."
On the other hand, the cue
sheet for the Thomas H. Ince production
of Eugene O'Neill's ANNA
CHRISTIE, 1923, begins-because of
course Anna is of Scandinavian
descent—with Sinding's "Rustle of
Spring," veteran of ten thousand
piano recitals. And although there
are ten references to compositions
by Grieg just to make sure you get
the point, the score collapses at
three different points for a love
theme into the maudlin "Smilin'
Through."
The cue sheets do, however,
indicate where their compilers felt
George C. Pratt is Curator of Film,
International Museum of Photography at
George Eastman House.
that there should be changes of
mood in the accompaniment. They
tell us exactly what music (or its
equivalent, since pianists must have
become adept at substitution)
reached the ears of the contemporary
audience while watching a
specific film. They bring us closer to
lost films. And they give us information—through
the statement of running
times—as to the speed at which
a silent film was projected: nearer to
sound speed than was for a long
time suspected. In this matter see
James Card's "Silent Film Speed" in
Image Vol. IV, No. 7 (October, 1955),
pp. 55-56, reprinted in "Image" on
the Art and Evolution of the Film, pp.
145-46.
The cue sheet collection, which
had been gathered by Theodore
Huff, was presented to George Eastman
House by Mr. Huff's mother,
after his death in 1953.
A
ABRAHAM LINCOLN (First National, 1924)
ACROSS THE CONTINENT (Paramount, 1922)
ACROSS THE PACIFIC (Warner Bros., 1926)
THE ACTRESS (MGM, 1928)
ADAM'S RIB (Paramount, 1923)
ADVENTURE MAD (Paramount, 1928)
AN AFFAIR OF THE FOLLIES (First National, 1927)
AFRAID TO LOVE (Paramount, 1927)
AFTER THE SHOW (Paramount, 1921)
THE AMATEUR GENTLEMAN
(First National, 1926)
AMERICAN BEAUTY (First National, 1927)
THE AMERICAN VENUS (Paramount, 1926)
THE AMERICANO (Triangle, 1916)
ANKLES PREFERRED (Fox, 1927)
ANNA CHRISTIE (Associated First National, 1923)
ANNAPOLIS (Pathe Exchange, 1928)
ANY WOMAN (Paramount, 1925)
ANYBODY HERE SEEN KELLY? (Universal, 1928)
THE ARAB (Metro-Goldwyn, 1924)
ARE PARENTS PEOPLE? (Paramount, 1925)
ARGENTINE LOVE (Paramount, 1924)
THE ARIZONA SWEEPSTAKES
(Universal-Jewel, 1925)
ASHES OF VENGEANCE (First National, 1923)
THE AUCTION BLOCK (MGM, 1926)
THE AUCTIONEER (Fox, 1927)
AVALANCHE (Paramount, 1928)
THE AWAKENING (United Artists, 1928)
B
BABE COMES HOME (First National, 1927)
BABY MINE (MGM, 1928)
BACHELOR BRIDES
(Producers Distributing, 1926)
THE BACHELOR DADDY (Paramount, 1922)
BACK HOME AND BROKE (Paramount, 1922)
BARBARA FRIETCHIE
(Producers Distributing, 1924)
BARBED WIRE (Paramount, 1927)
BARE KNEES (Gotham, 1928)
THE BAT (United Artists, 1926)
THE BATTLE OF THE SEXES (United Artists,
1928)
BEAU BRUMMEL (Warner Bros., 1924)
BEAU SABREUR (Paramount, 1928)
THE BEAUTIFUL CHEAT (Universal-Jewel, 1926)
THE BEAUTIFUL CITY (First National, 1925)
THE BEDROOM WINDOW (Paramount, 1924)
BEGGAR ON HORSEBACK (Paramount, 1925)
BEGGARS OF LIFE (Paramount, 1928)
BEHIND THE FRONT (Paramount, 1926)
BEHIND THE GERMAN LINES (Paramount, 1928)
BELLA DONNA (Paramount, 1923)
THE BETTER 'OLE (Warner Bros., 1926)
BIG BROTHER (Paramount, 1923)
THE BIG NOISE (First National, 1928)
BLACK OXEN (First National, 1923)
BLIND ALLEYS (First National, 1927)
BLINDFOLD (Fox, 1928)
BLONDE OR BRUNETTE (Paramount, 1927)
THE BLONDE SAINT (First National, 1926)
BLOOD AND SAND (Paramount, 1922)
THE BLOOMING ANGEL (Goldwyn, 1920)
THE BLUE DANUBE (Pathe Exchange, 1928)
THE BLUE EAGLE (Fox, 1926)
THE BLUE STREAK (FBO, 1926)
BLUEBEARD'S 8TH WIFE (Paramount, 1923)
BLUEBEARD'S SEVEN WIVES
(First National, 1925)
BLUFF (Paramount, 1924)
BOBBED HAIR (Warner Bros., 1925)
LABOHEME(MGM, 1926)
THE BONDED WOMAN (Paramount, 1922)
BOOMERANG BILL (Paramount, 1922)
BORDERLAND (Paramount, 1922)
BOUGHT AND PAID FOR (Paramount, 1922)
BOY OF FLANDERS (Metro-Goldwyn, 1924)
BRAVEHEART (Producers Distributing, 1925)
BREAKFAST AT SUNRISE (First National, 1927)
BREWSTER'S MILLIONS (Paramount, 1921)
THE BRIGHT SHAWL (First National, 1923)
BRINGING UP FATHER (MGM, 1928)
BROADWAY AFTER DARK (Warner Bros., 1924)
BROADWAY ROSE (Metro, 1922)
BROKEN BARRIERS (Metro-Goldwyn, 1924)
THE BROWN DERBY (First National, 1926)
BROWN OF HARVARD (MGM, 1926)
BUCK PRIVATES (Universal-Jewel, 1928)
BURIED TREASURE (Paramount, 1921)
BURNING DAYLIGHT (First National, 1928)
BURNING SANDS (Paramount, 1922)
THE BUSHRANGER (MGM, 1928)
THE BUTTER AND EGG MAN
(First National, 1928)
BUTTONS (MGM, 1927)
17

C
THE CALGARY STAMPEDE
(Universal-Jewel, 1925)
THE CALL OF THE CANYON (Paramount, 1923)
THE CALL OF THE NORTH (Paramount, 1921)
CAMEO KIRBY (Fox, 1923)
THE CAMERAMAN (MGM, 1928)
THE CAMPUS FLIRT (Paramount, 1926)
CAPTAIN BLOOD (Vitagraph, 1924)
CAPTAIN LASH (Fox, 1929)
THE CARDBOARD LOVER (MGM, 1928)
CASEY AT THE BAT (Paramount, 1927)
THE CAT AND THE CANARY (Universal, 1927)
THE CAT'S PAJAMAS (Paramount, 1926)
CHANG (Paramount, 1927)
CHARLEY'S AUNT (Producers Distributing, 1925)
THE CHARM SCHOOL (Paramount, 1921)
THE CHARMER (Paramount, 1925)
THE CHASER (First National, 1928)
CHEATING CHEATERS (Universal-Jewel, 1927)
CHICAGO (Pathe Exchange, 1928)
CHICAGO AFTER MIDNIGHT (FBO, 1928)
CHICKIE (First National, 1925)
CHINATOWN CHARLIE (First National, 1928)
THE CHINESE PARROT (Universal, 1927)
THE CIRCUS CYCLONE (Universal, 1925)
CIRCUS DAYS (First National, 1923)
THE CIRCUS KID (FBO, 1928)
THE CITY (Fox, 1926)
THE CITY GONE WILD (Paramount, 1927)
CLARENCE (Paramount, 1922)
CLASSIFIED (First National, 1925)
THE CLINGING VINE
(Producers Distributing, 1926)
CLOTHES MADE THE PIRATE
(First National, 1925)
THE COAST OF FOLLY (Paramount, 1925)
COBRA (Paramount, 1925)
CODE OF THE SEA (Paramount, 1924)
THE COHENS AND KELLYS
(Universal-Jewel, 1926)
THE COHENS AND THE KELLYS IN PARIS
(Universal, 1928)
COLLEEN (Fox, 1927)
COMBAT (Universal-Jewel, 1926)
COME TO MY HOUSE (Fox, 1927)
THE COMING OF AMOS
(Producers Distributing, 1925)
COMING THROUGH (Paramount, 1925)
THE COMMON LAW (Selznick, 1916)
COMPANIONATE MARRIAGE (First National, 1928)
CONFESSIONS OF A QUEEN (MGM, 1925)
THE CONFIDENCE MAN (Paramount, 1924)
A CONNECTICUT YANKEE AT KING
ARTHUR'S COURT (Fox, 1921)
CONTRABAND (Paramount, 1925)
CORNERED (Warner Bros., 1924)
THE COSSACKS (MGM, 1928)
THE COUNTRY BEYOND (Fox, 1926)
THE COUNTRY DOCTOR (Pathe Exchange, 1927)
THE COUNTRY KID (Warner Bros., 1923)
THE CRADLE (Paramount, 1922)
CRAIG'S WIFE (Pathe Exchange, 1928)
THE CRASH (First National, 1928)
THE CROWDED HOUR (Paramount, 1925)
THE CROWN OF LIES (Paramount, 1926)
A CUMBERLAND ROMANCE (Realart, 1920)
D
DADDIES (Warner Bros., 1924)
DADDY LONG LEGS (First National, 1919)
DANCE MAGIC (First National, 1927)
THE DANCER OF PARIS (First National, 1926)
DANCING MOTHERS (Paramount, 1926)
THE DANGEROUS AGE (First National, 1923)
THE DARK ANGEL (First National, 1925)
THE DARK SWAN (Warner Bros., 1924)
A DAUGHTER OF LUXURY (Paramount, 1922)
THE DAWN OF A TOMORROW (Paramount, 1924)
DECLASSE (First National, 1925)
DESERT GOLD (Paramount, 1926)
THE DICTATOR (Paramount, 1922)
DINTY (First National, 1920)
DIPLOMACY (Paramount, 1926)
THE DIVINE WOMAN (MGM, 1928)
DO YOUR DUTY (First National, 1928)
THE DOCKS OF NEW YORK (Paramount, 1928)
DON JUAN (Warner Bros., 1926)
DON JUAN'S THREE NIGHTS
(First National, 1926)
DON'T (MGM, 1926)
DON'T CALL IT LOVE (Paramount, 1923)
DON'T MARRY (Fox, 1928)
DON'T TELL EVERYTHING (Paramount, 1921)
DOUBLING WITH DANGER (FBO, 1926)
THE DOVE (United Artists, 1928)
DOWN THE STRETCH (Universal-Jewel, 1927)
DR. JACK (Pathe Exchange, 1922)
DR. JEKYLL AND MR. HYDE (Paramount, 1920)
THE DRAG NET (Paramount, 1928)
THE DRESSMAKER FROM PARIS
(Paramount, 1925)
THE DROP KICK (First National, 1927)
DRUMS OF THE DESERT (Paramount, 1927)
DRY MARTINI (Fox, 1928)
THE DUCHESS OF BUFFALO (First National,
1927)
E
THE EAGLE (United Artists, 1925)
THE EAGLE OF THE SEA (Paramount, 1926)
EAST IS WEST (First National, 1922)
EAST OF SUEZ (Paramount, 1925)
EAST SIDE, WEST SIDE (Fox, 1927)
EBB TIDE (Paramount, 1922)
ELLA CINDERS (First National, 1926)
THE ENEMY (MGM, 1928)
THE ENEMY SEX (Paramount, 1924)
THE ESCAPE (Fox, 1928)
THE ETERNAL CITY (First National, 1923)
THE ETERNAL STRUGGLE (Metro, 1923)
EVE'S LEAVES (Producers Distributing, 1926)
F
FAIR WEEK (Paramount, 1924)
THE FAMILY SECRET (Universal-Jewel, 1924)
THE FAMILY UPSTAIRS (Fox, 1926)
THE FAMOUS MRS. FAIR (Metro, 1923)
THE FAR CRY (First National, 1926)
FASCINATING YOUTH (Paramount, 1926)
FASHION ROW (Metro, 1923)
FASHIONS FOR WOMEN (Paramount, 1927)
FEEL MY PULSE (Paramount, 1921)
FEET OF CLAY (Paramount, 1924)
FIFTY FIFTY (Associated Exhibitors, 1925)
THE FIFTY FIFTY GIRL (Paramount, 1928)
FIG LEAVES (Fox, 1926)
THE FIGHTING BLADE (First National, 1923)
THE FIGHTING BUCKAROO (Fox, 1926)
THE FIGHTING COWARD (Paramount, 1924)
THE FIGHTING EAGLE (Pathe Exchange, 1927)
FIGHTING LOVE (Producers Distributing, 1927)
FIGURES DON'T LIE (Paramount, 1927)
FIND YOUR MAN (Warner Bros., 1924)
FIREMAN, SAVE MY CHILD (Paramount, 1927)
THE FIRST KISS (Paramount, 1928)
FLAMING BARRIERS (Paramount, 1924)
FLAMING YOUTH (First National, 1923)
THE FLEET'S IN (Paramount, 1928)
FLEETWING (Fox, 1928)
FLOWER OF NIGHT (Paramount, 1925)
FOOLS FOR LUCK (Paramount, 1928)
FOOL'S PARADISE (Paramount, 1921)
FOR HEAVEN'S SAKE (Paramount, 1926)
FOR THE LOVE OF MIKE (First National, 1927)
FORBIDDEN FRUIT (Paramount, 1921)
FORBIDDEN HOURS (MGM, 1928)
FORBIDDEN PARADISE (Paramount, 1924)
THE FORBIDDEN WOMAN
(Pathe Exchange, 1927)
FOREIGN DEVILS (MGM, 1927)
THE FOREIGN LEGION (Universal, 1928)
FORGOTTEN FACES (Paramount, 1928)
FORLORN RIVER (Paramount, 1926)
FORTY WINKS (Paramount, 1925)
THE FOURFLUSHER (Universal-Jewel, 1928)
THE FOUR HORSEMEN OF THE
APOCALYPSE (Metro, 1921)
FOUR SONS (Fox, 1928)
FOUR WALLS (MGM, 1928)
FRAMED (First National, 1927)
FRENCH DRESSING (First National, 1927)
THE FRESHMAN (Pathe Exchange, 1925)
G
GANG WAR (FBO, 1928)
THE GENERAL (United Artists, 1927)
A GENTLEMAN OF LEISURE (Paramount, 1923)
GET-RICH-QUICK-WALLINGFORD
(Paramount, 1921)
GETTING GERTIE'S GARTER (Producers
Distributing, 1927)
THE GHOST BREAKER (Paramount, 1922)
THE GIRL FROM MONTMARTRE
(First National, 1926)
18

A GIRL IN EVERY PORT (Fox, 1928)
THE GIRL IN THE LIMOUSINE
(First National, 1924)
GIRL SHY (Pathe Exchange, 1924)
THE GIRL WHO WOULDN'T WORK
(B. P. Schulberg Productions, 1925)
GIRLS MEN FORGET (Principal Pictures, 1924)
GLIMPSES OF THE MOON (Paramount, 1923)
GO WEST (MGM, 1925)
THE GO-GETTER (Paramount, 1923)
GOD GAVE ME TWENTY CENTS
(Paramount, 1926)
THE GOLD DIGGERS (Warner Bros., 1923)
THE GOLDEN BED (Paramount, 1925)
THE GOLDEN PRINCESS (Paramount, 1925)
GOOD AND NAUGHTY (Paramount, 1926)
THE GOOD PROVIDER (Paramount, 1922)
THE GOOD-BYE KISS (First National, 1928)
THE GOOSE HANGS HIGH (Paramount, 1925)
THE GOOSE WOMAN (Universal-Jewel, 1925)
THE GORILLA (First National, 1927)
THE GORILLA HUNT (FBO, 1926)
THE GRAND DUCHESS AND THE WAITER
(Paramount, 1926)
GRANDMA'S BOY (Pathe Exchange, 1922)
GRANDMA'S BOY (Pathe Exchange, 1922)
(reissue)
GRAUSTARK (First National, 1925)
THE GREAT GATSBY (Paramount, 1926)
THE GREAT IMPERSONATION (Paramount, 1921)
THE GREAT WHITE WAY
(Goldwyn-Cosmopolitan, 1924)
THE GREATER GLORY (First National, 1926)
THE GREEN GODDESS
(Goldwyn-Cosmopolitan, 1923)
THE GREEN TEMPTATION (Paramount, 1922)
GRUMPY (Paramount, 1923)
GUILTY OF LOVE (Paramount, 1920)
H
HAIRPINS (Paramount, 1920)
HALF A BRIDE (Paramount, 1928)
HANDS UP (Paramount, 1926)
HANGMAN'S HOUSE (Fox, 1928)
HAPPINESS AHEAD (First National, 1928)
HARD BOILED (Fox, 1926)
HARDBOILED (FBO, 1929)
HAROLD TEEN (First National, 1928)
THE HARVESTER (FBO, 1927)
HEADLINES (Associated Exhibitions, 1925)
HEADS UP (FBO, 1925)
THE HEART OF A FOLLIES GIRL
(First National, 1928)
THE HEART OF A SIREN (First National, 1925)
THE HEART OF GENERAL ROBERT E. LEE
(MGM, 1928)(2-reeler)
THE HEART THIEF (Producers Distributing, 1927)
HEART TO HEART (First National, 1928)
THE HELL DIGGERS (Paramount, 1921)
HELLO CHEYENNE (Fox, 1928)
HER GILDED CAGE (Paramount, 1922)
HER HONOR THE GOVERNOR (FBO, 1926)
HER HUSBAND'S SECRET (First National, 1925)
HER HUSBAND'S TRADEMARK
(Paramount, 1922)
HER LOVE STORY (Paramount, 1924)
HER MAN O'WAR (Producers Distributing, 1926)
HER SISTER FROM PARIS (First National, 1925)
HER TEMPORARY HUSBAND
(First National, 1923)
HER WILD OAT (First National, 1927)
THE HERITAGE OF THE DESERT
(Paramount, 1924)
A HERO FOR A NIGHT (Universal-Jewel, 1927)
HERO OF THE CIRCUS (Universal, 1928)
HIGH HAT (First National, 1927)
HIGH STEPPERS (First National, 1926)
HIKING THROUGH HOLLAND [WITH WILL
ROGERS] (Pathe Exchange, 1927) (1-reeler)
HIS CHILDREN'S CHILDREN (Paramount, 1923)
HIS DOG (Producers Distributing, 1927)
HIS FIRST FLAME (Pathe Exchange, 1927)
HIS PEOPLE (PROUD HEART)
(Universal-Jewel, 1925)
HIS PRIVATE LIFE (Paramount, 1928)
HIS SUPREME MOMENT (First National, 1925)
HIS TIGER LADY (Paramount, 1928)
HISTORY OF VAUDEVILLE
(Unidentified)
HOGAN'S ALLEY (Warner Bros., 1925)
HOLD THAT LION (Paramount, 1926)
HOLLYWOOD (Paramount, 1923)
HOME MADE (First National, 1927)
HOMEWARD BOUND (Paramount, 1923)
HONEYMOON HATE (Paramount, 1927)
HONOR BOUND (Fox, 1928)
HONOR FIRST (Fox, 1922) (reissue)
HOT NEWS (Paramount, 1928)
HOT WATER (Pathe Exchange, 1924)
THE HOTTENTOT (First National, 1922)
HOW TO HANDLE WOMEN (FRESH EVERY
HOUR) (Universal-Jewel, 1928)
HULA (Paramount, 1927)
HUMAN HEARTS (Universal-Jewel, 1922)
HUMAN WRECKAGE (FBO, 1923)
THE HUMMING BIRD (Paramount, 1924)
THE HUNCHBACK OF NOTRE DAME
(Universal, 1923)
I
I WANT MY MAN (First National, 1925)
ICEBOUND (Paramount, 1924)
THE IDLE RICH (Metro, 1921)
IDLE TONGUES (First National, 1924)
IDOLS OF CLAY (Paramount, 1920)
IF WINTER COMES (Fox, 1923)
IF YOU BELIEVE IT, IT'S SO (Paramount, 1922)
THE IMPOSSIBLE MRS. BELLEW
(Paramount, 1922)
THE IMPOSTER (FBO, 1926)
[WITH WILL ROGERS] IN DUBLIN (Pathe
Exchange, 1927) (1-reeler)
IN EVERY WOMAN'S LIFE (First National, 1924)
IN HOLLYWOOD WITH POTASH AND
PERLMUTTER (First National, 1924)
[WITH WILL ROGERS] IN PARIS (Pathe
Exchange, 1927) (1-reeler)
IN THE PALACE OF THE KING
(Goldwyn-Cosmopolitan, 1923)
INFATUATION (First National, 1925)
THE INSIDE OF THE CUP (Paramount, 1921)
INSPIRATION (Excellent Pictures, 1928)
INTO HER KINGDOM (First National, 1926)
INTO THE NIGHT (Raleigh Pictures, 1928)
IRISH LUCK (Paramount, 1925)
IRISH HEARTS (Warner Bros., 1927)
THE IRON MASK (United Artists, 1929)
THE IRRESISTIBLE LOVER (Universal, 1927)
IS MATRIMONY A FAILURE? (Paramount, 1922)
THE ISLE OF LOST SHIPS (First National, 1923)
ISOBEL; or THE TRAIL'S END
(Davis Distributing, 1920)
IT MUST BE LOVE (First National, 1926)
IT'S THE OLD ARMY GAME (Paramount, 1926)
J
JAVA HEAD (Paramount, 1923)
JESSE JAMES (Paramount, 1927)
JOANNA (First National, 1925)
JOHNNY GET YOUR HAIR CUT (MGM, 1927)
THE JOHNSTOWN FLOOD (Fox, 1926)
THE JOY GIRL (Fox, 1927)
JUST ANOTHER BLONDE (First National, 1926)
JUST AROUND THE CORNER (Paramount, 1921)
JUST MARRIED (Paramount, 1928)
JUST SUPPOSE (First National, 1926)
K
THE KEEPER OF THE BEES (FBO, 1925)
KICK IN (Paramount, 1922)
KIKI (First National, 1926)
THE KING OF KINGS (Pathe Exchange, 1927)
THE KING OF THE TURF (FBO, 1926)
THE KING OF WILD HORSES
(Pathe Exchange, 1924)
THE KING ON MAIN STREET (Paramount, 1925)
KISMET (Robertson-Cole, 1920)
A KISS FOR CINDERELLA (Paramount, 1926)
A KISS IN A TAXI (Paramount, 1927)
A KISS IN THE DARK (Paramount, 1925)
KISS ME AGAIN (Warner Bros., 1925)
KOSHER KITTY KELLY (FBO, 1926)
L
LADDIE (FBO, 1926)
LADIES AT PLAY (First National, 1926)
LADIES MUST LIVE (Paramount, 1921)
LADIES NIGHT IN A TURKISH BATH
(First National, 1928)
LADIES OF LEISURE (Columbia Pictures, 1926)
LADIES OF THE MOB (Paramount, 1928)
THE LADY (First National, 1925)
THE LADY IN ERMINE (First National, 1927)
19

THE LADY OF THE HARUM (Paramount, 1926)
LADY OF THE NIGHT (Metro-Goldwyn, 1925)
THE LADY WHO LIED (First National, 1925)
LADY WINDERMERE'S FAN (Warner Bros., 1925)
THE LANE THAT HAD NO TURNING
(Paramount, 1922)
THE LAST COMMAND (Paramount, 1928)
THE LAST FRONTIER
(Producers Distributing, 1926)
THE LAST PAYMENT (Paramount, 1921)
THE LAST WARNING (Universal, 1929)
THE LATEST FROM PARIS (MGM, 1928)
THE LAW AND THE WOMAN (Paramount, 1922)
THE LAW OF THE RANGE (MGM, 1928)
THE LAWFUL CHEATERS (B. P. Schulberg
Productions, 1925)
LAWFUL LARCENY (Paramount, 1923)
LEARNING TO LOVE (First National, 1925)
LET IT RAIN (Paramount, 1927)
LET NO MAN PUT ASUNDER (Vitagraph, 1924)
LET'S GET MARRIED (Paramount, 1926)
THE LIFE OF RILEY (First National, 1927)
THE LIGHT THAT FAILED (Paramount, 1923)
THE LIGHTHOUSE BY THE SEA
(Warner Bros., 1924)
LIGHTNING SPEED (FBO, 1928)
THE LILY (Fox, 1926)
LILY OF THE DUST (Paramount, 1924)
LITTLE ANNIE ROONEY (United Artists, 1925)
THE LITTLE FRENCH GIRL (Paramount, 1925)
THE LITTLE IRISH GIRL (Warner Bros., 1926)
LITTLE JOHNNY JONES (Warner Bros., 1923)
LITTLE OLD NEW YORK
(Goldwyn-Cosmopolitan, 1923)
THE LITTLE SHEPHERD OF KINGDOM COME
(First National, 1928)
THE LIVE WIRE (First National, 1925)
LONG LIVE THE KING (Metro, 1923)
LONG PANTS (First National, 1927)
THE LOOKOUT GIRL (Quality Pictures, 1928)
LORD JIM (Paramount, 1925)
LOST-A WIFE (Paramount, 1925)
LOST AT THE FRONT (First National, 1927)
THE LOST BATTALION (McManus, 1919)
THE LOST WORLD (First National, 1925)
LOVE AND LEARN (Paramount, 1928)
LOVE 'EM AND LEAVE 'EM (Paramount, 1926)
THE LOVE GAMBLE (Henry Ginsburg
Distributing, 1925)
LOVE HUNGRY (Fox, 1928)
THE LOVE LIGHT (United Artists, 1921)
THE LOVE MART (First National, 1927)
THE LOVE MASTER (First National, 1924)
THE LOVE THAT LIVES (Paramount, 1917)
THE LOVE THRILL (Universal-Jewel, 1927)
THE LOVE TOY (Warner Bros., 1926)
THE LOVER OF CAMILLE (Warner Bros., 1924)
LOVE'S GREATEST MISTAKE (Paramount, 1927)
LOVE OF AN ACTRESS (Paramount, 1928)
THE LOVES OF PHARAOH (Paramount, 1922)
THE LUCKY DEVIL (Paramount, 1925)
THE LUCKY LADY (Paramount, 1926)
THE LUNATIC AT LARGE (First National, 1927)
LYING WIVES (Ivan Players, 1925)
M
MAD LOVE (Goldwyn, 1923)
MADAME SANS-GENE (Paramount, 1925)
MADAME WANTS NO CHILDREN (Fox, 1927)
MADE FOR LOVE (Producers Distributing, 1926)
MADEMOISELLE MIDNIGHT (Metro, 1924)
THE MAGIC GARDEN (FBO, 1927)
THE MAGNIFICENT FLIRT (Paramount, 1928)
MAIN STREET (Warner Bros., 1923)
THE MAKING OF O'MALLEY (First National, 1925)
MAN BAIT (Producers Distributing, 1926)
MAN CRAZY (First National, 1927)
THE MAN FROM HOME (Paramount, 1922)
THE MAN FROM RED GULCH (Producers
Distributing, 1925)
A MAN OF IRON (Chadwick Pictures, 1925)
MAN OF THE FOREST (Paramount, 1926)
THE MAN ON THE BOX (Warner Bros., 1925)
MAN POWER (Paramount, 1927)
THE MAN UNCONQUERABLE (Paramount, 1922)
THE MAN WHO FOUND HIMSELF
(Paramount, 1925)
THE MAN WHO LAUGHS (Universal, 1928)
THE MAN WHO SAW TOMORROW
(Paramount, 1922)
MANHATTAN (Paramount, 1924)
MANHATTAN COCKTAIL (Paramount, 1928)
MANHATTAN MADNESS (Associated
Exhibitors, 1925)
MANNEQUIN (Paramount, 1926)
MANSLAUGHTER (Paramount, 1922)
THE MARK OF ZORRO (United Artists, 1920)
MARQUIS PREFERRED (Paramount, 1929)
MARRIAGE BY CONTRACT (Tiffany-Stahl, 1928)
THE MARRIAGE CIRCLE (Warner Bros., 1923)
THE MARRIAGE CLAUSE (Universal-Jewel, 1926)
MARRIAGE LICENSE? (Fox, 1926)
THE MARRIAGE MAKER (Paramount, 1923)
THE MASKED WOMAN (First National, 1927)
THE MATING CALL (Paramount, 1928)
McFADDEN'S FLATS (First National, 1927)
THE MEANEST MAN IN THE WORLD
(First National, 1923)
MEMORY LANE (First National, 1926)
MEN (Paramount, 1924)
MEN AND WOMEN (Paramount, 1925)
MERRY GO ROUND (Universal, 1923)
THE MERRY WIDOW (MGM, 1925)
MICHAEL STROGOFF (Universal-Jewel, 1926)
THE MIDNIGHT FLYER (FBO, 1925)
THE MIDNIGHT KISS (Fox, 1926)
MIDNIGHT LOVERS (First National, 1926)
MIDNIGHT MADNESS (Pathe Exchange, 1928)
THE MIDNIGHT SUN (Universal-Jewel, 1926)
MIDSUMMER MADNESS (Paramount, 1920)
MIGHTY LAK A ROSE (First National, 1923)
MIKE (MGM, 1926)
A MILLION BID (Warner Bros., 1927)
THE MIRACLE BABY (FBO, 1923)
MISMATES (First National, 1926)
MISS BREWSTER'S MILLIONS (Paramount, 1926)
MISS LULU BETT (Paramount, 1921)
THE MISSING LINK (Warner Bros., 1927)
MLLE. MODISTE (First National, 1926)
MR. BILLINGS SPENDS HIS DIME
(Paramount, 1923)
MOAN A (Paramount, 1926)
THE MODEL FROM MONTMARTRE
(Paramount, 1928)
THE MOLLYCODDLE (United Artists, 1920)
THE MONKEY TALKS (Fox, 1927)
MONSIEUR BEAUCAIRE (Paramount, 1924)
MORALS FOR MEN (Tiffany, 1925)
MORAN OF THE MARINES (Paramount, 1928)
MOTHER (FBO, 1927)
MY AMERICAN WIFE (Paramount, 1923)
MY HOME TOWN (Atlas Educational, 1925)
MY OFFICIAL WIFE (Warner Bros., 1926)
MY OWN PAL (Fox, 1926)
MY SON (First National, 1925)
MY WILD IRISH ROSE (Vitagraph, 1922)
THE MYSTERIOUS LADY (MGM, 1928)
THE MYSTERIOUS RIDER (Paramount, 1927)
N
NAME THE MAN! (Goldwyn-Cosmopolitan, 1924)
NANOOK OF THE NORTH
(Pathe Exchange, 1922)
NAPOLEON (MGM, 1929)
NAUGHTY BUT NICE (First National, 1927)
THE NAUGHTY DUCHESS (Tiffany-Stahl, 1928)
THE NAVIGATOR (Metro-Goldwyn, 1924)
NELL GWYN (Paramount, 1926)
THE NERVOUS WRECK
(Producers Distributing, 1926)
NEVADA (Paramount, 1927)
NEVER SAY DIE (Associated Exhibitors, 1924)
NEW BROOMS (Paramount, 1925)
THE NEW KLONDIKE (Paramount, 1926)
NEW LIVES FOR OLD (Paramount, 1925)
NEW TOYS (First National, 1925)
THE NEXT CORNER (Paramount, 1924)
NICE PEOPLE (Paramount, 1922)
THE NIGHT BIRD (Universal, 1928)
THE NIGHT BRIDE (Producers Distributing, 1927)
THE NIGHT CRY (Warner Bros., 1926)
THE NIGHT FLYER (Pathe Exchange, 1928)
NIGHT LIFE OF NEW YORK (Paramount, 1925)
THE NIGHT WATCH (First National, 1928)
NO CONTROL (Producers Distributing, 1927)
NO MAN'S GOLD (Fox, 1926)
NO PLACE TO GO (First National, 1927)
NOBODY'S MONEY (Paramount, 1923)
NONE BUT THE BRAVE (Fox, 1928)
THE NOOSE (First National, 1928)
NORTH OF THE RIO GRANDE (Paramount, 1922)
NORTH OF '36 (Paramount, 1924)
NOT SO LONG AGO (Paramount, 1925)
THE NOTORIOUS LADY (First National, 1927)
THE NUT (United Artists, 1921)
0
OH, DOCTOR! (Universal-Jewel, 1924)
OH KAY (First National, 1928)
OH! WHAT A NURSE (Warner Bros., 1926)
20

OLD HOME WEEK (Paramount, 1925)
THE OLD HOMESTEAD (Paramount, 1922)
OLD LOVES AND NEW (First National, 1926)
OLD WIVES FOR NEW (Paramount, 1918)
THE OLD SOAK (Universal-Jewel, 1926)
OLIVER TWIST (First National, 1922)
O'MALLEY RIDES ALONE (Syndicate, 1930)
ON TO RENO (Pathe Exchange, 1928)
ONE INCREASING PURPOSE (Fox, 1927)
ONE OF THE BRAVEST (Gotham, 1925)
ONE STOLEN NIGHT (Vitagraph, 1923)
ONE WOMAN TO ANOTHER (Paramount, 1927)
ONE YEAR TO LIVE (First National, 1925)
ONLY 38 (Paramount, 1923)
THE ONLY WOMAN (First National, 1924)
OPEN RANGE (Paramount, 1927)
THE OPENING NIGHT (Columbia Pictures, 1927)
ORCHIDS AND ERMINE (First National, 1927)
THE ORDEAL (Paramount, 1922)
OTHER WOMEN'S HUSBANDS
(Warner Bros., 1926)
OUR DANCING DAUGHTERS (MGM, 1928)
OUR HOSPITALITY (Metro, 1923)
OUR LEADING CITIZEN (Paramount, 1922)
OUT ALL NIGHT (Universal-Jewel, 1927)
OUT OF THE RUINS (First National, 1928)
OUT OF THE STORM (Tiffany, 1926)
OUTCAST (First National, 1928)
OUTCAST SOULS (Sterling, 1927)
OUTSIDE THE LAW (Universal-Jewel, 1921)
THE OUTSIDER (Fox, 1926)
OVER THE BORDER (Paramount, 1922)
OVER THE HILL (Fox, 1920) (reissue)
P
THE PACE THAT THRILLS (First National, 1925)
PAID TO LOVE (Fox, 1927)
PAINTED PEOPLE (First National, 1924)
PAINTED POST (Fox, 1928)
THE PALM BEACH GIRL (Paramount, 1926)
PALS IN PARADISE (Producers Distributing, 1926)
PARADISE (First National, 1926)
PARADISE FOR TWO (Paramount, 1927)
PARTNERS AGAIN (United Artists, 1926)
PARTNERS IN CRIME (Paramount, 1928)
PASSION (MADAME DUBARRY)
(First National, 1920)
THE PASSION FLOWER (First National, 1921)
THE PASSIONATE PILGRIM (Paramount, 1921)
PASSIONATE YOUTH (Truart, 1925)
THE PATENT LEATHER KID (First National, 1927)
THE PATRIOT (MGM, 1928)
THE PATSY (MGM, 1928)
PEACOCK ALLEY (Metro, 1922)
PEACOCK FEATHERS (Universal-Jewel, 1925)
PECK'S BAD BOY (First National, 1921)
PEG O' MY HEART (Metro, 1922)
PENROD (First National, 1922)
PENROD AND SAM (First National, 1923)
PERCY (Pathe Exchange, 1925)
THE PERFECT SAP (First National, 1927)
PETER PAN (Paramount, 1924)
THE PHANTOM EXPRESS (Henry Ginsberg
Distributing, 1925)
THE PHANTOM OF THE OPERA (Universal, 1925)
PHYLLIS OF THE FOLLIES (Universal, 1928)
PIED PIPER MALONE (Paramount, 1924)
THE PILGRIM (First National, 1922)
THE PINCH HITTER (Associated Exhibitors, 1925)
PINK GODS (Paramount, 1922)
THE PIONEER SCOUT (Paramount, 1928)
THE PLAY GIRL (Fox, 1928)
THE PLEASURE BUYERS (Warner Bros., 1925)
POKER FACES (Universal-Jewel, 1926)
POLLYANNA (United Artists, 1920)
PONJOLA (First National, 1923)
THE PONY EXPRESS (Paramount, 1925)
THP POOR LITTLE RICH GIRL (Paramount, 1917)
THE POOR NUT (First National, 1927)
POPPY (Selznick, 1917)
THE POPULAR SIN (Paramount, 1926)
POTASH AND PERLMUTTER (First National, 1923)
POTEMKIN (Amkino, 1926) (cue sheet by V Heifitz)
POVERTY OF RICHES (Goldwyn, 1921)
POWER (Pathe Exchange, 1928)
THE POWER OF THE PRESS
(Columbia Pictures, 1928)
THE PRIDE OF PALOMAR (Paramount, 1922)
THE PRINCE OF BROADWAY (Chadwick, 1926)
THE PRINCE OF HEADWAITERS
(First National, 1927)
A PRINCE THERE WAS (Paramount, 1922)
THE PRISONER OF ZENDA (Metro, 1922)
PRIVATE IZZY MURPHY (Warner Bros., 1926)
THE PRIVATE LIFE OF HELEN OF TROY
(First National, 1927)
PRODIGAL DAUGHTERS (Paramount, 1923)
PUBLICITY MADNESS (Fox, 1927)
PUPPETS (First National, 1926)
THE PURPLE HIGHWAY (Paramount, 1923)
Q
QUICKSANDS (Paramount, 1927)
QUO VADIS (First National, 1925)
R
THE RACKET (Paramount, 1928)
RAFFLES (Universal-Jewel, 1925)
RAGS TO RICHES (Warner Bros., 1922)
THE RAINMAKER (Paramount, 1926)
RAMONA (United Artists, 1928)
RECOIL (Goldwyn-Cosmopolitan, 1924)
RED DICE (Producers Distributing, 1926)
RED LIPS (Universal, 1928)
A REGULAR FELLOW (HE'S A PRINCE)
(Paramount, 1925)
RENT FREE (Paramount, 1922)
THE RETURN OF PETER GRIMM (Fox, 1926)
REVELATION (Metro-Goldwyn, 1924)
RICH BUT HONEST (Fox, 1927)
THE RIDDLE: WOMAN (Pathe, 1920)
THE RIGHT THAT FAILED (Metro, 1922)
RILEY THE COP (Fox, 1928)
RITZY (Paramount, 1927)
THE ROAD TO YESTERDAY (Producers
Distributing, 1925)
ROBIN HOOD (United Artists, 1922)
ROLLED STOCKINGS (Paramount, 1927)
ROLLING HOME (Universal-Jewel, 1926)
ROMOLA (Metro-Goldwyn, 1924)
ROSITA (United Artists, 1923)
ROUGH HOUSE ROSIE (Paramount, 1927)
THE ROUGH RIDERS (Paramount, 1927)
RUBBER HEELS (Paramount, 1927)
RUGGLES OF RED GAP (Paramount, 1923)
THE RUNAWAY (Paramount, 1926)
RUNNING WILD (Paramount, 1927)
RUPERT OF HENTZAU (Selznick, 1923)
s
S-O-S PERILS OF THE SEA
(Columbia Pictures, 1925)
SACKCLOTH AND SCARLET (Paramount, 1925)
THE SACRED PROMISE (unidentified)
SADIE THOMPSON (United Artists, 1928)
A SAILOR-MADE MAN
(Associated Exhibitors, 1921)
SAILORS' WIVES (First National, 1928)
A SAINTED DEVIL (Paramount, 1924)
SALLY (First National, 1925)
SALLY OF THE SAWDUST (United Artists, 1925)
SALOME OF THE TENEMENTS (Paramount, 1925)
SALOMY JANE (Paramount, 1923)
THE SAVAGE (First National, 1926)
THE SAWDUST PARADISE (Paramount, 1928)
SCARAMOUCHE (Metro, 1923)
THE SCARLET LETTER (MGM, 1926)
SCHOOL DAYS (Warner Bros., 1921)
SCHOOL FOR WIVES (Vitagraph, 1925)
SECOND YOUTH (Goldwyn-Cosmopolitan, 1926)
THE SECRET HOUR (Paramount, 1928)
THE SECRET SPRING (Paramount, 1926)
THE SECRET STUDIO (Fox, 1927)
SENORITA (Paramount, 1927)
SERVICE FOR LADIES (Paramount, 1927)
SEVEN CHANCES (Metro-Goldwyn, 1925)
SEVEN KEYS TO BALDPATE (Paramount, 1925)
SHADOWS OF PARIS (Paramount, 1924)
SHAME (Fox, 1921) (reissue)
SHARP SHOOTERS (Fox, 1928)
THE SHEIK (Paramount, 1921)
THE SHEPHERD OF THE HILLS
(First National, 1928)
SHERLOCK BROWN (Metro, 1922)
SHERLOCK, JR. (Metro, 1924)
THE SHOOTING OF DAN McGREW (Metro, 1924)
SHORE LEAVE (First National, 1925)
SHOULDER ARMS (First National, 1918)
THE SHOWDOWN (Paramount, 1928)
THE SHOW-OFF (Paramount, 1926)
THE SIDE SHOW OF LIFE (Paramount, 1924)
THE SILENT LOVER (First National, 1926)
THE SILENT PARTNER (Paramount, 1923)
SILK STOCKINGS (Universal-Jewel, 1927)
THE SIN SISTER (Fox, 1929)
SINGED (Fox, 1927)
SINGED WINGS (Paramount, 1922)
SIX DAYS (Goldwyn-Cosmopolitan, 1923)
22

SKINNER'S DRESS SUIT (Universal-Jewel, 1926)
SKY HIGH CORRAL (Universal, 1926)
SKYSCRAPER (Pathe Exchange, 1928)
SLAVE OF DESIRE (Goldwyn-Cosmopolitan, 1923)
SLAVES OF BEAUTY (Fox, 1927)
THE SMART SET (MGM, 1928)
SMILE BROTHER SMILE (First National, 1927)
SMILIN' THROUGH (First National, 1926)
THE SNOB (MGM, 1924)
SO THIS IS PARIS (Warner Bros., 1926)
A SOCIETY SCANDAL (Paramount, 1924)
SOFT CUSHIONS (Paramount, 1927)
SOMEONE TO LOVE (Paramount, 1928)
SOMETHING ALWAYS HAPPENS
(Paramount, 1928)
SOMETHING TO THINK ABOUT
(Paramount, 1920)
A SON OF HIS FATHER (Paramount, 1925)
THE SON OF THE SHEIK (United Artists, 1926)
THE SONG OF LOVE (First National, 1923)
SONNY (First National, 1922)
THE SORROWS OF SATAN (Paramount, 1926)
SO'S YOUR OLD MAN (Paramount, 1926)
SOUL FIRE (First National, 1925)
SOULS FOR SABLES (Tiffany, 1925)
THE SPANIARD (Paramount, 1925)
THE SPANISH DANCER (Paramount, 1923)
SPEEDY (Paramount, 1928)
THE SPLENDID ROAD (First National, 1925)
SPOILERS OF THE WEST (MGM, 1927)
THE SPOTLIGHT (Paramount, 1927)
SQUARE CROOKS (Fox, 1928)
ST ELMO (Fox, 1923) (reissue)
STAGE MADNESS (Fox, 1927)
STAGE STRUCK (Paramount, 1925)
STAND AND DELIVER (Pathe Exchange, 1928)
STARK LOVE (Paramount, 1927)
STELLA MARIS (Universal-Jewel, 1925)
STEPHEN STEPS OUT (Paramount, 1923)
STEPPING ALONG (First National, 1926)
THE STOLEN BRIDE (First National, 1927)
STRANDED IN PARIS (Paramount, 1926)
THE STRANGE CASE OF CAPTAIN RAMPER
(First National, 1928)
THE STRANGER (Paramount, 1924)
STRANGERS OF THE NIGHT (Metro, 1923)
THE STREETS OF FORGOTTEN MEN
(Paramount, 1925)
THE STREET OF SIN (Paramount, 1928)
THE STRONG MAN (First National, 1926)
THE STUDENT PRINCE IN OLD HEIDELBERG
(MGM, 1927)
SUMMER BACHELORS (Fox, 1926)
THE SUNSET DERBY (First National, 1927)
THE SWAN (Paramount, 1925)
SWEET DADDIES (First National, 1926)
SWIM GIRL SWIM (Paramount, 1927)
T
TAKE IT FROM ME (Universal, 1926)
TAKE ME HOME (Paramount, 1928)
TARNISH (First National, 1924)
THE TELEPHONE GIRL (Paramount, 1927)
TELL IT TO SWEENEY (Paramount, 1927)
TEMPEST (United Artists, 1928)
THE TEN COMMANDMENTS (Paramount, 1923)
TEN MODERN COMMANDMENTS
(Paramount, 1927)
TENTH AVENUE (Pathe Exchange, 1928)
A TEXAS STEER (First National, 1927)
THAT ROYLE GIRL (Paramount, 1925)
THAT'S MY DADDY (Universal, 1928)
A THIEF IN PARADISE (First National, 1925)
A THIEF IN THE DARK (Fox, 1928)
THE THIEF OF BAGDAD (United Artists, 1924)
THE THIRD ALARM (FBO, 1922)
THIRTY DAYS (Paramount, 1923)
THIS WOMAN (Warner Bros., 1924)
THREE AGES (Metro, 1923)
THREE HOURS (First National, 1927)
THREE LIVE GHOSTS (Paramount, 1922)
THREE MILES OUT (Associated Exhibitors, 1924)
THE THREE MUSKETEERS (United Artists, 1921)
THREE-RING MARRIAGE (First National, 1928)
THREE SINNERS (Paramount, 1928)
THREE WEEK ENDS (Paramount, 1928)
THREE WEEKS (Goldwyn, 1924)
THREE WISE FOOLS
(Goldwyn-Cosmopolitan, 1923)
THREE WOMEN (Warner Bros., 1924)
THREE'S A CROWD (First National, 1927)
THE THUNDERING HERD (Paramount, 1925)
TIGER LOVE (Paramount, 1924)
TIGER ROSE (Warner Bros., 1923)
TILLIE'S PUNCTURED ROMANCE
(Paramount, 1928)
TIME TO LOVE (Paramount, 1927)
TIP TOES (Paramount, 1927)
TO PLEASE ONE WOMAN (Paramount, 1920)
TO THE LADIES (Paramount, 1923)
TO THE LAST MAN (Paramount, 1923)
TONGUES OF FLAME (Paramount, 1924)
TOO MANY CROOKS (Paramount, 1927)
TOO MANY KISSES (Paramount, 1925)
TOO MUCH MONEY (First National, 1926)
THE TOP OF THE WORLD (Paramount, 1925)
THE TRAIL OF THE LONESOME PINE
(Paramount, 1923)
THE TRAP (Universal-Jewel, 1922)
TRAVELIN' ON (Paramount, 1922)
A TRIP TO CHINATOWN (Fox, 1926)
TROUBLE (First National, 1922)
THE TROUBLE WITH WIVES (Paramount, 1925)
TRUE HEAVEN (Fox, 1929)
TRUMPET ISLAND (Vitagraph, 1920)
TRUXTON KING (Fox, 1923)
TUMBLEWEEDS (United Artists, 1925)
TURN TO THE RIGHT (Metro, 1922)
TWO FLAMING YOUTHS (Paramount, 1927)
U
UNCLE TOM'S CABIN (Universal, 1927)
UNDER THE LASH (Paramount, 1921)
UNDERWORLD (Paramount, 1927)
THE UNGUARDED HOUR (First National, 1925)
UNGUARDED WOMEN (Paramount, 1924)
THE UNTAMED LADY (Paramount, 1926)
THE UNWRITTEN LAW (Columbia Pictures, 1925)
V
THE VALLEY OF THE GIANTS
(First National, 1927)
THE VANISHING AMERICAN (Paramount, 1926)
THE VANISHING PIONEER (Paramount, 1928)
VANITY (Producers Distributing, 1927)
VARIETY (Paramount, 1926)
VENUS OF VENICE (First National, 1927)
VERY CONFIDENTIAL (Fox, 1927)
VOLCANO (Paramount, 1926)
THE VOLGA BOATMAN
(Producers Distributing, 1926)
w
THE WALTZ DREAM (MGM, 1926)
THE WANDERER (Paramount, 1926)
WANDERER OF THE WASTELAND
(Paramount, 1924)
WAR PAINT (MGM, 1926)
THE WATER HOLE (Paramount, 1928)
WE MODERNS (First National, 1925)
WEDDING BILLS (Paramount, 1927)
THE WEDDING MARCH (Paramount, 1928)
THE WEDDING SONG
(Producers Distributing, 1925)
WE'RE ALL GAMBLERS (Paramount, 1927)
WEST OF THE WATER TOWER (Paramount, 1964)
WHAT EVERY WOMAN KNOWS
(Paramount, 1921)
WHERE WAS I? (Universal-Jewel, 1925)
WHILE SATAN SLEEPS (Paramount, 1922)
THE WHIRLWIND OF YOUTH (Paramount, 1927)
WHITE GOLD (Producers Distributing, 1927)
WHITE SHADOWS IN THE SOUTH SEAS
(MGM, 1928)
THE WHITE SISTER (Metro, 1923)
WHY GIRLS LEAVE HOME (Warner Bros., 1921)
WHY WOMEN LOVE (First National, 1925)
WHY WORRY? (Pathe Exchange, 1923)
WILD BILL HICKOK (Paramount, 1923)
WILD HORSE MESA (Paramount, 1925)
THE WILDERNESS WOMAN (First National, 1926)
WINGS (Paramount, 1927)
THE WINNING OF BARBARA WORTH
(United Artists, 1926)
THE WISE GUY (First National, 1926)
THE WITCHING HOUR (Paramount, 1921)
WITHIN THE LAW (First National, 1923)
THE WOLF OF WALL STREET (Paramount, 1929)
THE WOMAN DISPUTED (United Artists, 1928)
A WOMAN OF THE WORLD (Paramount, 1925)
THE WOMAN ON TRIAL (Paramount, 1927)
WOMAN-PROOF (Paramount, 1923)
THE WOMAN UNDER COVER (Universal, 1919)
WOMAN WISE (Fox, 1928)
WOMANHANDLED (Paramount, 1925)
WOMANPOWER (Fox, 1926)
WOMEN AND GOLD (Gotham, 1925)
THE WORLD AT HER FEET (Paramount, 1927)
THE WORLD'S CHAMPION (Paramount, 1922)
23

THE WRECK OF THE HESPERUS
(Pathe Exchange, 1927)
WRECKAGE (Banner, 1925)
Y
THE YANKEE CLIPPER
(Producers Distributing, 1927)
YOU'D BE SURPRISED (Paramount, 1926)
YOUNG APRIL (Producers Distributing, 1926)
z
ZAZA (Paramount, 1923)
24

Corporate
Underwriters
Eastman Kodak Co.
Ford Motor Co.
Gannett Foundation
Gleason Memorial Fund, Inc.
Sponsors
E. I. DuPont de Nemours & Co.
Lawyers Co-operative Publishing Co.
Patrons
Bausch and Lomb
Foundation, Inc.
Curtice Burns, Inc.
Champion Products, Inc.
Computer Consoles, Inc.
E. J. Del Monte Corp.
R. T. French Co.
Frumkin & Struve Gallery
Garlock, Inc.
A. W. Hopeman & Sons Corp.
IBM Corp.
Infantino Corea Enterprises, Inc.
Itek Graphic Equipment Division
John Weber Gallery
Jones Chemicals, Inc.
Price Waterhouse & Co.
Rochester Clearing House Assoc.
Central Trust Company
Lincoln First Bank, N. A.—
Rochester Division
Marine Midland Bank—Rochester
Bankers Trust Company
of Western New York
Monroe Savings Bank
Manufacturers Hanover Trust
Company/Central New York
Rochester Savings Bank
Security Trust Company
Citibank (New York State), N. A.
The Chase Manhattan Bank, N. A.
Chemical Bank
Rochester Gas & Electric Corp.
Rochester Telephone Corp.
Schlegel Corp.
Sibley Lindsay & Curr Co., Inc.
Sybron Corp.
Sykes Datatronics, Inc.
United Artists Corp.
The Young and Rubicam
USA Foundation
Sustainers
Associated Communications Corp.
Burroughs Corp.
Case-Hoyt Corp.
D. O. Industries
Domine Builders Supply Corp.
De Carolis Truck Rental, Inc.
Byron R. De Witt, Inc.
Economy Paper Co.
Flanigan Furniture Inc.
Genesee Brewing Co., Inc.
Gould Pumps, Inc.
Harris, Beach, Wilcox, Rubin
and Levey
Joseph Harris Co., Inc.
Robert F. Hyland & Sons, Inc.
Lovenheim Foundation
Marsh and McLennan, Inc.
Mousaw, Vigdor, Reeves,
Heilbronner, Kroll
John B. Pike & Son, Inc.
Reed-Kent, Inc.
Rochester Midland Corp.
Rumrill Hoyt, Inc.
Star Supermarkets, Inc.
J. Walter Thompson Co.
Voplex Corp.
Wegman's Food Markets, Inc.
Contributors
Altier and Sons Shoes, Inc.
Arthur Andersen & Co.
Bache, Halsey, Stuart, Shields Inc.
Bravo Macaroni Co.
John D. Brush & Co.
Caldwell Manufacturing Co.
Canandaigua Wine Co., Inc.
Cook Iron Store Co.
DeRidder Thurston, Inc.
Detection Systems, Inc.
Dollinger Corp.
Dolomite Products Co., Inc.
Erdle Perforating Co.
Finger Lakes Orthopedic
Supplies, Inc.
Thomas W. Finucane Corp.
Paul T. Freund Corp.
First National Bank of Rochester
General Railway Signal
Foundation, Inc.
Germanow-Simon
Machine Co., Inc.
Hickey-Freeman Co., Inc.
Hickson Electric Corp.
E. F. Hutton & Co. Inc.
Fred. S. James and Co.
Kayex Corp.
Labelon Corp.
Lyons Development, Inc.
Manitou Construction Co., Inc.
Merrill Lynch, Pierce,
Fenner & Smith, Inc.
Ontario Metal Supply Inc.
Ragu Foods, Inc.
Riedman Corp.
Rochester Asphalt Materials Inc.
Rochester Coca Cola Bottling Corp.
Rochester Polychrome Press, Inc.
Rochester Van & Storage Co.
Scrantoms Book & Stationery Co.
Service Bureau Co.
Spectrum Office Products, Inc.
Stromberg Carlson Corp.
Waste Management, Inc.
Werner Spitz Construction Co., Inc.
York Machinery Corp.