Posts Tagged ‘Sid Grauman’

Universal Studios, the Laemmle years, 1912-1936…

Saturday, September 15th, 2012

FILM HISTORY

Universal Studios, the Laemmle years, 1912—1936…      

 

 

 

 

By Allan R. Ellenberger

 

The 100th anniversary of Universal Studios was celebrated this year (April 30) thus making it the first of the major Hollywood studios to achieve that impressive longevity. The story of Universal, especially the years of Carl Laemmle’s control, is typical of the industry and carries a recognizable theme that reverberates through all American business successes.

 

 

 

 

When Carl Laemmle arrived in New York at 17 years-old, he had $50 and a telescope valise packed with only a few personal items from his home in Laupheim, Germany. From there he headed west like many other immigrants and found odd jobs in stores, factories, working as a farm hand in South Dakota, as a bookkeeper in Chicago and as the general manager of a department store in Oshkosh, Wisconsin. Twenty-two years later, Laemmle had saved a capital of $2,500 and started on his next venture.

 

Laemmle had returned to Chicago where he waited in line for the new sensation, the motion picture shows, which was shown in a store converted to resemble the interior of a railroad coach; the motion picture representing scenery was viewed from the rear of a train. Laemmle was astonished at the long line of people willing to pay a dime for this privilege and envisioned the possibility for a new money-making opportunity.

 

With the assistance of R. H. Cochrane, a young Chicago advertising man, they acquired a store on Milwaukee Avenue where he opened the White Front Theater on February 24, 1906 (it had been the White Front store and the sign served as a name for the theater). It was on a Saturday night and he gave patrons fifteen minutes of movies and a song with beautifully colored slides. On Sunday he ran twenty shows. At five cents a head his gross for the two days was $192.05. That was the beginning of a long association with Cochrane who later became a vice-president of Universal.

 

A second theater was soon opened and from that point Laemmle entered all branches of the rapidly expanding motion picture industry. This new success brought him into conflict with the larger interests in the industry. After breaking with the Patents Company, which owned most of the patents on cameras, projectors, etc. he announced he would produce his own films. The Independent Moving Picture (IMP) Company was formed. Its first film, Hiawatha, was released in October 1909. IMP has been given the credit for introducing the star system to Hollywood, when it signed the Biograph Girl, Florence Lawrence, and billed her name above the title of her pictures in 1910. Over the next three years Laemmle battled Edison’s motion picture trust which was followed by a federal investigation, leading to the termination of the General Film Company.

 

The Universal Film Manufacturing Company was founded on April 30, 1912, and was composed of six of the leading independent producers. The name Universal was given, according to Hollywood legend, when Laemmle was presiding over a pretentious gathering of independent film producers in his office overlooking Union Square to decide upon a name. After glancing out the window at the Broadway traffic, with the usual flourishes, gave the designation—Universal. He had seen the name, it is said, on a delivery wagon marked “Universal Pipe Fittings.”

 

Following other film producers, by the end of 1912, Universal was making most of its films in Hollywood on the northwest corner of Sunset and Gower. During the first year of the studio’s operation, 250 films were produced, mostly two-reelers.

 

As Laemmle and Universal prospered, he purchased a former chicken farm, the 230-acre Taylor ranch on the banks of the Los Angeles River five miles north of Hollywood. The land was part of the ancient Rancho Cahuenga de Ramirez and on the property where General John C. Fremont and Pio Pico signed the Treaty of Cahuenga.  

 

 

 

 

Formal dedication of the studio on March 14, 1915, was an affair heralded by posters in railway stations throughout the country. Exhibitors were brought here by special trains to witness the ceremony. Laura Oakley, Universal City’s female police chief, presented Laemmle with a golden key and he officially unlocked the huge front gate of the studio as bands played. Flags were unfurled and a cheering crowd of 20,000 jammed Lankershim Blvd.  

 

 

 

Carl Laemmle and friends at the opening of Universal City in March 1915

 

Universal City came into existence and the studio was created as a small city with a population of nearly 300, with its own post office, fire department and police department. Children have been born on the lot and men and women have died there. Virginia Richdale Kerrigan, the daughter of William W. Kerrigan, one-time manager of Universal and the twin brother of actor J. Warren Kerrigan, had the distinction of being the first baby born on the Universal lot in 1915. Tragically only nine years later, Virginia’s dress caught fire at a Christmas gathering and she died from her burns.

 

Many of the 300 Universal employees lived in houses on the lot when the studio was opened in 1915. Some merely converted sets into practical living quarters and others just camped. Most of the actors had horses, for Universal was the home of the Western, which provided the studios bread-and-butter in the first two decades. The players with horses carried saddle bags in which were stuffed two uniforms. Sometimes they would appear in the mornings as Indians and after lunch, once the Indians were defeated by the cowboys, they would switch costumes and chase the images of themselves.

 

 

 

The above and following two photos were taken on a visit to Universal Studios in 1916 (Courtesy of Allan Landman / © Hollywoodland 2012)

 

 (Courtesy of Allan Landman / © Hollywoodland 2012)

 

 (Courtesy of Allan Landman / © Hollywoodland 2012)

 

One day in 1916, Harry Carey, one of Universal’s early western star attractions, was leading a bunch of cowhands down Broadway when the whole group tired of the script. Just for fun, and the undying mortification of the city’s budding social set, Carey and his dusty mounted troupe, rode up the steps and into the lobby of the stylish Alexandria Hotel.

 

Many stories of early Universal were based on nepotism, for there it thrived. Several Laemmles changed their names so that strangers wouldn’t get the impression they were there only because they were related. Some made good, others did not. But Uncle Carl, as he was known in the industry, never fired one of them. Ogden Nash, the poet, said the following about Laemmle’s habit of giving top executive jobs to family members: “Uncle Carl Laemmle has a very large faemmle.”

 

Laemmle’s greatest pride was for his son, Carl Laemmle, Jr., who was originally named Julius after his grandfather in Germany. But when the senior Laemmle made him general manager of Universal on his twenty-first birthday, Julius became Junior.

 

Something else that Laemmle loved was gambling. High-stakes poker games with such cronies as Joseph Schenck and Sid Grauman would last all night and when the local action slowed a bit, Laemmle thought nothing of taking quick trips to Agua Caliente, the Mexican forerunner of Las Vegas. One night he lost $10,000 there. In one weekend, he lost three times that.

 

Universal Studios was the site of a number of industry firsts—Laemmle established the first European exchange for independent American films; he built the first electrically lighted stages so he would not have to depend on sunlight, and produced the first $1,000,000 feature, Foolish Wives (1922), directed by Erich von Stroheim, who the studio billed as “the man you love to hate.”

 

Many famous names in Hollywood history served at one time or another on the Universal lot. On it Charlie Chaplin courted Mildred Harris and Wallace Reid won Dorothy Davenport. John Ford and William Wyler (a Laemmle family member) received their early training at the studio—on Harry Carey westerns and farces with Laura La Plante. Such films as Phantom of the Opera (1925) and Hunchback of Notre Dame (1923), both with Lon Chaney; Showboat (1929 and 1936) and the Academy Award winner, All Quiet on the Western Front (1930) were made there. The studio launched the comedies of the 1930s with My Man Godfrey (1936) and introduced Deanna Durbin as a 14-year-old singer in her first great success, Three Smart Girls (1936). The studio also produced such classic soap operas as Magnificent Obsession (1936), Back Street (1932) and Imitation of Life (1934), the same titles that turned out to be box-office hits in the 1950s in remakes refurbished with color. And of course, there are the famed monster films which include Frankenstein (1931), Dracula (1931), The Mummy (1932) and The Invisible Man (1933).

 

 

 

 

All studios were famous for their publicity stunts, but one at Universal had repercussions for many years to come. For the film, The Black Cat (1934), an adaptation of an Edgar Allan Poe story, the studio advertised a county-wide contest for a cat to play the title role. Every child in town showed up. By the time the pre-selected winner was announced, cats were loose everywhere. Few chose to return home, and for decades (and possibly to this day) the studio lot teemed with their descendants.

 

 

 

Cast of Show Boat–Irene Dunne, Allan Jones, Charles Winninger and Helen Westley

 

The Laemmle era came to an end in 1936 when the studio produced a lavish remake of Show Boat, featuring several stars from the Broadway stage version. Carl Jr.’s disturbing spending habits, the studios attempts at high-quality productions and the costs of modernizing and upgrading during the depression brought about their decline and being placed into receivership. Stockholders demanded that the Laemmle’s take out a loan from Standard Capital Corporation to make Show Boat, using the family’s controlling interest as collateral. When production problems created a huge overrun, the loan was called in and Universal could not pay. Standard foreclosed and seized control of Universal. Ironically when Show Boat was released it was a financial success but it was not enough to save the Laemmles who were forced to leave the studio on April 2, 1936. Carl Laemmle died three years later at the age of 72.

 

Despite low periods in its history, Universal Studios has survived. Over the past seventy-plus years Universal has had several owners and name variations. It is the debris from the Laemmle years, 1912 to 1936, that saw hundreds of films made on the 230 (and eventually 410) acres and that form most of Universal today. It doesn’t look much like a chicken farm any more.

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Rest in Peace, Sid Grauman…

Wednesday, September 12th, 2012

BREAKING NEWS

Rest in Peace, Sid Grauman…

 

 

Chinese Theatre impresario Sid Grauman (left) with true Hollywood greats, Norma Shearer and Irving Thalberg

 

Late last night emergency personnel were called to Forest Lawn Cemetery in Glendale where loud noises, banging and crying were heard emanating from the Sanctuary of Benediction corridor of the Great Mausoleum.  After a brief investigation, workmen discovered the sounds were coming from the crypt of Sid Grauman, the builder of Hollywood’s Egyptian and Chinese Theatres. Evidently the great showman was turning over in his grave after the cast of the X-Factor–Simon Cowell, Britney Spears, L.A. Reid and Demi Lovato, left their handprints in cement at the forecourt of the legendary Chinese Theater. This once honored Hollywood tradition, which in the past has been reserved for the greats of film history (need it be mentioned the film hits of Cowell, Spears, Reid & Lovato??), last night was finally put out of its misery. While choices in the recent past have been questionable, one can only wonder who is next–the Kardashians? Rest in peace, Sid Grauman.

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Grauman’s Chinese to celebrate 85th birthday

Sunday, March 25th, 2012

GRAUMAN’S CHINESE

Grauman’s Chinese Theatre to offer 25-cent admission to celebrate their 85th birthday

 

 

 

HOLLYWOOD, (KABC) — Grauman’s Chinese Theatre is planning to offer 25-cent admission on select days in honor of the theater’s 85th birthday.

 

On Mondays, starting April 2, admission to the theater will only cost a quarter. That’s the same as it was on opening day in 1927.

 

On those Mondays, Grauman’s will show classic films which premiered there over the past eight decades. Locals and visitors alike should come and celebrate!

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John Gilbert–Jim Tully feud

Sunday, October 9th, 2011

FROM THE HEADLINES

John Gilbert and Jim Tully bout stirs Los Angeles

 

 

  

Los Angeles Evening Herald
February 11, 1930

 

Hollywood today awaited the next flare-up in the John Gilbert-Jim Tully feud.

 

And while Hollywood awaited, details of a fist fight staged by the pair in a Hollywood restaurant several days ago was coming to light, indicated that Tully, redheaded author, had knocked the screen star down and had scored a decision over him in the presence of Gilbert’s wife, Ina Claire.

 

Gilbert, now vacationing at Palm Springs, refused to discuss the fight at length except to state tersely: “I don’t care to talk about it. I only did what any man would have done in the circumstances.”

 

Which was almost the same the same thing Tully said, but the author added: “I did what you’d do if a man came charging across a room at you. I simply got up and knocked him down.”

 

But “ringsiders” and friends recounted the “blow by blow” report of the fight. Tully, they said, was having a midnight lunch at a table with Miss May Cruze, sister of director James Cruze, and Nicholas Kelly.

 

Gilbert, Miss Claire and Sid Grauman entered the cafe.

 

Two years ago, Tully had written “unfriendly” words in a story of Gilbert’s life, appearing in a nationally known magazine, and bad feeling was known to exist between the two.

 

According to witnesses, Gilbert deposited his coat and then saw Tully seated at the table. With a shout, the romantic star, dashed across the room, it was said.

 

Tully arose and struck him in the face, flooring Gilbert. Then friends separated the pair, and Gilbert left in a few minutes, joined by his wife.

 

TWO DAYS LATER…

Jack Gilbert, screen star, may have been down as the result of one of author Jim Tully’s “roundhouse swings.” But he insists he never was “licked.”

 

Gilbert emerged from temporary seclusion at Palm Springs today to tell the world that his head, target of Tully’s punch in a Hollywood cafe last week, may have been bloody, but it’s still unbowed.

 

“I’m not saying what I’ll do the next time we meet,” Gilbert said. “If I should feel at that moment as I did the other night, there’ll be another fight. I hope to have better luck next time. I made a mistake rushing him. It put me at a disadvantage.”

 

Tully scoffed at Gilbert’s latest defy.

 

“He’s always at a disadvantage when he tackles me,” the author said. “I learned to fight where brickbats were daisies. If Gilbert had gone to that school he wouldn’t have survived to become a motion picture star.”

 

Tully siad he “was fond of Jack, but Gilbert had no sense of humor.”

 

Gilbert declined to predict when his next meeting with Tully would take place. He also denied he was “in training” at the Palm Springs resort, where he is vacationing with his wife, Ina Claire.

 

Ringside reports that Gilbert was the aggressor in the cafe fight were corroborated today by Miss May Cruze, sister of director James Cruze, who was with Tully and Nicholas Kelly when the fight started.

 

“Jack started it, all right,” Miss Cruze said. “He and Miss Claire and Sid Grauman came in and Jack started making passes at Jim. I think he missed four times. Then Jim hit him and he went down. Men stopped the fight, but Jack seemed willing to go on.”

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