Posts Tagged ‘Thomas Ince’

A visit to Metro-Goldwyn-Mayer Studios in 1930

Wednesday, July 19th, 2017


A short sixteen years earlier, in 1914, the land was a bare, sandy waste of land. In 1930, the Metro-Goldwyn Mayer studios were valued at $25,000,000.

In 1914 a real estate man sat in his office. He owned hundreds of acres of land on the outskirts of Los Angeles and was confronted with the problem of selling them. As it lay, that tract of land was far from pleasing to the eye which increased the problem of selling it.

Something had to be done to draw attention to the locations, to give it a glamour which would entice home-seekers. The real estate man decided to forget those acres for the afternoon and go to a movie. But as he was leaving he stopped—Movies! Motion pictures. A studio. Workmen would need land for homes.

Thomas Ince, then a big mogul in motion pictures, was called and offered the land to build a studio. Where?” Ince asked.

Culver City,” replied the real estate man.

So out to the sanded wastes went Thomas Ince. He built one rickety stage which passed for a studio and began making Western pictures. Ince’s once rickety stage had grown to be three large glassed-in studios. A few years later, Samuel Goldwyn, coming west, bought the works; stages, land and all that went with them. The romance of motion pictures and the studio which eventually became Metro-Goldwyn-Mayer were under way.

Under the Goldwyn regime at that studio Will Rogers first came to pictures. Also there was Pauline Frederick, who was one of the most beautiful actresses of her day. Helen Chadwick, Naomi Childers, Sydney Ainsworth, Madge Kennedy, Mabel Normand, Jack Pickford, Tom Moore and Geraldine Farrar, at that time the “Carmen” of them all. These and many more laughed and cried their way in and out of that old studio. Most are but faint memories today.

Rupert Hughes, Rex Beach, Gouverneur Morris, Gertrude Atherton—writers which in their day were as big as any in their game—all saw service at that old Goldwyn studio. It was a training ground for the best.

In 1924, Metro Studios and Louis B. Mayer joined hands with Goldwyn and the Metro-Goldwyn-Mayer organization and studio was born. It grew into a fairy city. .

There were twenty-two complete sound stages. Two of these were monstrous things of steel and concrete. One contained a complete theater, the largest hippodrome stage west of New York City, for theatrical spectacles in films. The stage in the theater was eighty feet long, eighty feet wide and eighty feet high. It had every modern device invented. This is what you see in MGM pictures whenever theatrical sequences are shown.

Another stage, the largest in existence, one hundred feet wide and two hundred and fifty feet long, was a steel and glass semi-enclosed building for extra large exterior scenes, such as those shown in The Trail of ’98. The rest were ordinary, huge steel and wood stages made soundproof by being lined with a composition. .

In these studios daily could be seen John Gilbert, Norma Shearer, William Haines, Marion Davies, Ramon Novarro, Greta Garbo, Lon Chaney, Joan Crawford and a host of less famous players who were battling their way to stardom.

A group of concrete buildings were to the left as you entered the main gate. The first three-story building was the one housing the executives. Irving Thalberg was one of them. Louis B. Mayer was another.

Next there was a three-story concrete wardrobe building. In it were tailor and dressmaking shops, designers’ offices and storage space for the more and 10,000 dresses and costumes MGM kept on hand ready for a moment’s call. With Adrian and David Cox designing them, and “Mother” Coulter supervising the making of them, some famous costumes and styles went out to the world from this building.

Just past the wardrobe was the publicity building and casting office. That small office was where so many came daily only to be told, “Sorry, nothing for you today.” Directly across from the publicity building was the commissary; a complete restaurant with dining room, lunch counters and soda fountain. It was run on a non-profit basis, being strictly for the convenience of the studio employees, the stars, extras, cameramen and directors. For years the minimum number of meals which were served there in any one day—except Sundays—was one thousand. And as many as seven thousand were fed in one day during heavy production. It was here that Louis B. Mayer entertained the entire studio at a turkey dinner each year during the Christmas holidays. Never had he had less than 2,500 guests. In addition, the commissary had its own ice and carbonating plant. .

Karl Dane and Gwen Lee point out the studios schedule.

Director’s Row was two stories and ran from one side of the commissary. Here sat Robert Leonard, Sam Wood, Jack Conway, Harry Beaumont and other directors. Around the corner was the fan-mail department. Seven clerks handled an average of 38,000 letters a month addressed to the stars. They were in reality a miniature post office staff, sorting the letters and seeing that each star gets his sack-full every day. It was these men who addressed and sent pictures of the players to those who requested them.

Strolling further about the fifty-three acre lot were stages back-to-back, stages stuck off in corners, and sets all over the place. There was a building for music and dance rehearsals; a recording building where the voices were recorded. Next a camera building and near it the projection rooms, where daily the “rushes” were viewed.

Nearby was the big electrical building. The MGM studio used 2,500,000 kilowatts of juice a year. It had a “connected load” of 35,000 horsepower—more than enough to light a city the size of Reno, Nevada. .

Bungalow of the Stars

Around the corner of a stage were bungalows which nestled into the ground and looked like dream houses. They belonged to the stars. Then the make-up department, a little schoolhouse for child actors and more sets.

More than 3,000,000 feet of lumber a year was used in building sets; 15,000 gallons of paint; 250 tons of plaster; 4,000 sacks of cement; 15,000 tons of rock; 600 bales of plaster fiber, and 300,000 feet of wallboard. These were for the building of sets only and did not include the materials used to build stages and buildings.

The telephone system at MGM was a 1200-unit central switchboard. It was more than enough to adequately serve a city of 3,000 people. .


In 1930, out of the 120 buildings and its 2,500 employees, 50,000,000 feet of film was used for the output of motion pictures that was sent to theaters. In any event, it was a far cry from the dinky, rickety one stage that Thomas Ince first erected, to the ten thousand people who were on the lot at one time during the shooting of Ben-Hur (1926). In 1930, Culver City boasted 13,000 as her population. That real estate agent—Harry Culver—was now a multimillionaire.

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Alice Terry: The Girl from Old Vincennes

Friday, November 8th, 2013





This is the first of four parts on the silent film actress, Alice Terry.


By Allan R. Ellenberger


Grace, style, and an icy beauty. These qualities describe Alice Terry, one of silent film’s most enchanting and underrated actresses. Even though she made only 24 films, her contribution to the film industry along with her husband, director Rex Ingram, could fill a history book.


She was born Alice Frances Taafe on July 24, 1899, in a small house on Fifth and Shelby Streets in Vincennes, Indiana. Her father, Martin Taafe, was a farmer who had migrated to Indiana from County Kildare, Ireland. There he met and fell in love with Ella Thorn. The two were married and began a family, with Alice the youngest of three children.


By the time Alice turned five years old, the Taafe’s had settled in Los Angeles. Not long after their arrival, Mr. Taafe was killed in a street accident, and Mrs. Taafe took her three children back to Indiana. Within the year the Taafe’s returned to Los Angeles and moved into an apartment building in the beach community of Venice.


The years progressed, and Alice attended Santa Monica High School while her older sister Edna worked at a candy store. At the age of 14, Alice was chosen by the Chamber of Commerce to represent Venice in the “Beauties of the Beach” contest which was sponsored by the neighboring beach communities. “Miss Taafe is a typical beach maiden,” the local newspaper proclaimed. “She is an expert swimmer, diver, tennis player, and she is as swift and sure in a canoe as an Indian maiden.”


Regardless of her fleeting fame, money was tight, and in order to help make ends meet, Alice auditioned as an extra for Thomas Ince after being encouraged by Tarzan of the Apes actress Enid Markey, who lived in the same apartment building.


Ince took a liking to the auburn-haired teenager and paid her $12 a week. He put her in several of his films including the 1916 classic, Civilization, in which she played everything from a peasant to a German soldier. Years later, another Ince extra, Charlotte Arthur remembered working with Alice. “Alice Terry,” she recalled, “with whom we at once made friends, whose name was Taafe in those days and whom everyone called Taffy. She was very poor and very Irish and very simple and nice—and very plump—and nobody thought she had a chance. She couldn’t act. Well, Rex Ingram taught her to do that.”


At the time, Rex Ingram was a young director working mostly at Universal. He was married to a young actress named Doris Pawn. However, the marriage was in trouble from the start, and within the year they were separated. Rex met Alice that same year when he was making a picture at the John Brunton Studios (now Paramount). “I played an extra for two or three days,” Alice recalled,” and then he left for the Royal Flying Corps. I didn’t hear from him again until the end of the war.”



Alice Terry without her blonde wig


In the meantime, she continued doing extra work for different studios. Alice did not have much confidence in herself or her talent and was uncomfortable working for anyone other than Thomas Ince. “Somehow I didn’t get the thrill out of working before the camera that one is supposed to experience,” she once told a friend. “Of course, as extras we did not know the story of the picture. We simply obeyed orders as they were shouted at us in a megaphone and then waited until the picture was exhibited at our favorite theater to see what it was all about.”


Her confidence was soon strengthened when in 1916 director Charles Giblyn cast her as the younger sister opposite Bessie Barriscale in Not My Sister (1916).  “I acted all over the place,” she said, “killing people and eating up the scenery. Until I realized that I didn’t know anything about it. Then I never ‘acted’ again.”


Regardless, with this taste of acting now in her blood, she set her sights on something more than just an extra. “I want to be a star like Miss Barriscale,” she told a reporter. “And I am going to work just as hard in the future as I have in the past, and who knows but my dream will come true.”


Her dream eventually would come true, but not until several setbacks. After appearing in Not My Sister, Alice continued in small roles in such films as The Bottom of the Well (1917), Thin Ice (1919), and The Valley of Giants (1919). In 1917 she appeared as an extra in Alimony (1917), made at Metro Studios, along with another unknown named Rudolph Valentino. They were extras together earning $7.50 a day and were well acquainted. “I was an extra so long, never getting anywhere,” Alice remembered. “People would say, ‘its funny, Alice that you don’t get on,” but it wasn’t funny to me. I was so shy and backward, no one was willing to risk me with a part, and I grew to have that whipped feeling, you know, that awful inner discouragement, until I was sure I would never be any good.”


Unfortunately, it was during this time that Alice’s insecurity caused her to run away from what may have been her first big opportunity. While working as an extra on The Devil’s Pass Key (1920), director Erich Von Stroheim approached her.  “I am starting my next picture soon,” he said. “I think I may be able to do something for you. Come and see me.”


Alice promised that she would and then walked off the lot and never went back, not even for her pay check. Afraid of having her hopes aroused again, she decided to make a slight change in careers. She found a job in the cutting room at Famous Players-Lasky, but it lasted only a short time because of her adverse reaction to the glue fumes, which forced her to return to acting.


Soon after she received a call from Rex Ingram who had returned from the war and wanted her to pose for a head he was sculpting. Again, their paths did not cross for several months until Alice was called to be an extra on Ingram’s next film, The Day She Paid (1919). However, he spoke harshly to her, and she began to cry. She walked off the set and refused to go back.


The next day, Rex called Alice and apologized and asked her to come back. He was going to be changing studios soon, and he had a part for her. Alice told him she would consider being a script girl, but as far as acting was concerned, she was through!



Rex Ingram and Alice Terry


Of course, Rex was able to convince Alice to return, and he gave her a small role in his next film, Shore Acres (1920), made at Metro. During this time, Ingram was able to find the talent that lay hidden beneath her shyness and decided to cast her in an important role in Hearts Are Trumps (1920).


It was during preparation for this film that Alice discovered her trademark. One day she was putting on make-up and saw a blond wig sitting on the table next to her and decided to try it on. Thinking that it looked too silly, she immediately took it off, but not before Ingram walked into the room and saw her in it. He insisted she wear it in the film. Alice felt ridiculous wearing the wig until she saw the rushes three days later. “When I appeared on the screen, I looked so different, and from that time on I never got rid of the wig,” she recalled. “I was stuck with it. I didn’t feel like myself, and my freckles didn’t seem to show. My skin looked whiter, and there was a different person there. If I ever had to rehearse, I always put the wig on or I couldn’t do it.”


The relationship between Alice and Rex was developing at a rapid pace. Rex began to get possessive of Alice, and once became jealous when she played the ukulele for his assistant, Walter Mayo. Another time, during the making of Four Horsemen of the Apocalypse (1921), a taxi driver took a liking to Alice and gave her free rides to the studio from the streetcar stop on Hollywood Boulevard. One morning, Rex overheard the taxi driver as he let her off in front of the studio on Cahuenga Avenue. “Goodbye Alice. I’ll see you in the morning,” he told the young actress. Rex was incensed. “He shouldn’t call you Alice,” Rex insisted. “You’re going to be a big star.”


“Look,” she told Ingram, “he can call me Alice if he picks me up. I’m not going to ride on that streetcar and then walk six blocks to the studio.” The next day, Rex provided Alice with a car.


Ingram began grooming his young protégé for stardom. First, he changed her name to Alice Terry and had her teeth fixed. He also sent her to a spa to lose weight. During this time they became good friends. They would meet at a Pasadena tea room and discuss the day’s events and each others secret ambitions. He would take her home, and the next day everyone would tell her about the other girls he saw later that night. “Well, good for him,” she would say. She liked Rex very much, but she knew that kind of behavior was not for her.


Meanwhile, Metro Pictures’ president, Richard Rowland, bought the rights to the very popular novel The Four Horsemen of the Apocalypse. The Vincente Blasco Ibanez novel had remained on the best seller list consistently, and Rowland felt it could be what the ailing studio needed to rescue it from the brink of bankruptcy.


Rowland placed the undertaking into the capable hands of scenarist June Mathis. When she suggested Rex Ingram to be the director, Rowland looked at his recent work and saw how little they had cost, compared to their quality. This impressed the cost conscious mogul, and he signed Ingram for the project.



Rudolph Valentino and Alice Terry in “The Four Horsemen of the Apocalypse”


Ingram and Mathis did not agree on the choice of the actor to play Julio. Mathis wanted Rudolph Valentino, who was a rising young star. Ingram recalled the young actor from his days at Universal and felt that he could not handle the role. When Mathis agreed to sign Alice Terry in the role of Marguerite, Ingram yielded and agreed to using Valentino.


When Alice discovered that Metro had signed both her and Valentino, she couldn’t image why Rex and the studio wanted to risk everything on two virtual unknowns. However, Metro executives were betting that the book was still popular with the public, and hoped that would be enough to lure an audience. Once again, Alice’s self confidence was tested. “When I read the book I was terribly frightened,” she recalled. “I used to look at those big sets and wish I could run away; but once we started on the work I forgot to be afraid—I was fascinated.”


A spirit of congeniality developed on the set, but the work was hard. Rex insisted that the dialogue be spoken in French. Even though it was a silent film, he wanted to impress even the lip readers in the audience. So Alice would get up at five o’clock every morning and study on the streetcar on her way to work. However, after she learned one French title, she would repeat it for every scene. “Nobody could tell the difference,” she reasoned.


Valentino became very irritated and told her, “If you say that line one more time I’m going to…” Rex finally insisted that she learn the entire dialogue.




When the film opened in Los Angeles, Alice was a bundle of nerves. Rex had gone to New York to attend the premiere there and called to tell her that the film was a success. As she arrived at the Mission Theater, people greeted her politely, but not with much fanfare. She felt there must be something wrong that she didn’t know. “Then at intermission these people I knew began to recognize me,” she said, “but they didn’t know I had changed my name and that I had changed so much and that I was blonde and all this, and then it was very exciting.”


The Four Horsemen of the Apocalypse was a tremendous hit and put Metro into the black. It also helped the careers of June Mathis and Rex Ingram and made a star of Valentino and Alice Terry.


Next week, Part Two looks at Alice and Rex Ingram’s budding relationship and the films she made with Ramon Novarro.



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Lewis Stone’s Death and Funeral…

Monday, June 15th, 2009


Lewis Stone

 Lewis Stone

By Allan R. Ellenberger


A former Broadway matinee idol and cavalry officer, Lewis Stone was, for the last 35 years of his life, one of the leading film actors in Hollywood. A native of Worcester, Massachusetts, Stone made the stage his career after completing his college education. He had made considerable headway in the theater when he was called into the Spanish American War.


After the war, Stone returned to Broadway with a role in Sidetracked, which made him a star and a matinee idol within a matter of months. Subsequent plays such as The Girl of the Golden West and The Bird of Paradise – popular plays of the time – gave him the chance to master his craft.


One of the first actors from the legitimate stage to see the possibilities in movies, Stone made his first major screen appearance in 1915 in Honor’s Altar, which was directed by Thomas Ince. Stone’s popularity soared in the new medium and he soon won roles in other silent films. Among his better known credits were The Prisoner of Zenda (1922), Scaramouche (1923) and The Girl from Montmartre (1926). He received a Best Actor Academy Award nomination for the 1928 film, The Patriot.


Lewis Stone and Alice Hollister

Lewis Stone and Alice Hollister in Milestone (1920)


It was after the advent of sound that he reached his greatest popularity as Judge Hardy in the Andy Hardy series with Mickey Rooney. He spent most of his years as a screen actor with Metro-Goldwyn-Mayer where his credits included Mata Hari (1931), China Seas (1935) and Three Wise Fools (1946).


Lewis Stone - Andy Hardy

Lewis Stone (left, front row) and his Andy Hardy family


In September 1953 Stone was preparing to accept a role in a forthcoming Paramount production of Sabrina (1954) starring Audrey Hepburn and Humphrey Bogart and was awaiting the arrival of the script. At the time, the Stones were being annoyed by a group of boys who would take midnight swims in their pool and toss furniture in afterward.


Lewis Stone residence

The former residence of Lewis Stone


On the evening of Saturday, September 12, 1953, Stone and his third wife Hazel, were watching television at their home at 455 S. Lorraine Boulevard when they heard a racket in the back yard. When he investigated, Stone found lawn furniture once again floating in the pool and glimpsed three or perhaps four teenage boys running towards the street. Stone gave chase despite his wife’s warning not to exert himself.


Upon reaching the sidewalk, Stone suddenly collapsed. A gardener, Juan Vergara witnessed the chase and summoned aid. Sadly the actor died of a heart attack on the sidewalk without regaining consciousness. Lewis Stone was 73.


Lewis Stone sidewalk

 The sidewalk where Lewis Stone died


Within the hour, police took three boys, one of them 13 and the other two 15, into custody and booked them on suspicion of malicious mischief. They told officers that they previously had taken a swim in the pool and “thought it would be funny if they threw the furniture into it” because Stone had chased them before. After being booked at the Wilshire Station, they were lectured by police before being released to the custody of their parents pending possible Juvenile Court action.


Lewis Stone was survived by his third wife, Hazel (Wolf) and two daughters Virginia and Barbara.


Stone’s funeral was held at his home on Wednesday, September 16. Last rites were conducted by Dr. Ernest Holmes, founder of the Institute of Religious Science, in the ballroom of the Stone home. More than 100 invited friends including film executives, producers, directors and actors occupied the ballroom and the adjoining paneled library beneath a replica of a Raphael Madonna.


Lewis Stones funeral

Pallbearers carry the casket of Lewis Stone into his home for the funeral. Compare with the photo below and notice the same doorway, window and columns.


Lewis Stone residence


“A great friend, a great citizen, a great artist has left us,” said Dr. Holmes. “To know this man was to admire and to love him.” He said that Stone was a religious man whose philosophy was that “not some people but all people are immortal.”


Among those present were executives of MGM including Louis B. Mayer, Dore Schary, Edward J. Mannix, producer Jack Cummings, and many others.


Mayer, actors Robert Young and Charles Ruggles and agent Fred Fralick were among the pallbearers. Also present were Mickey Rooney, Fay Holden and Celia Parker who played Stone’s family in the Andy Hardy series. 


Dozens of other actors who worked with Stone were there – Louis Calhern, Ralph Morgan, Russell Simpson, Donald Crisp, Otto Krueger, Marjorie Rambeau and many more. Directors who guided him in his film productions such as Mervyn LeRoy, Frank Lloyd and Robert Z. Leonard were present.


Dr. Holmes in his brief service quoted poems that were favorites of Stone, including the “Good-Night, Sweet Prince” passage from Hamlet that is the requiem for actors. Singer John Gary sang “Abide With Me” and “The Lord’s Prayer.”


Stone’s body was taken to Rosedale Cemetery where it was cremated. His ashes are listed as being sent to Kensico Cemetery in Valhalla, New York where he purchased a lot in 1914. His first wife Margaret and two daughters are buried there unmarked, but his ashes, according to his daughter, were scattered over his ranch in Malibu.


Stone’s estate which was valued at $150,000 was left entirely to his widow, Hazel. The will, dated February 18, 1935, explained that everything was left to Hazel, and nothing to his two daughters because they had been well provided for under insurance policies. Stone’s friend and attorney, Lloyd Wright, was named executor. Wright’s probate petition estimated the estate’s income as $3,500 a year.


Walter Hampden took over the role of Oliver Larrabee in Sabrina that was originally intended for Stone.


NOTE: The address above is a private residence. Please DO NOT disturb the occupants.



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Selig Polyscope Studios

Friday, May 22nd, 2009


Selig-Polyscope Studios


The original Selig-Polyscope Studio that was located at 1845 Glendale in the Edendale area of Los Angeles (Los Angeles Times, May 5, 1940)


By Allan R. Ellenberger
May 22, 2009


The Chicago-born Col. William N Selig started out in the theatre both as an actor and manager. But in 1883 he became interested in photography and began experimental work which later led to the development of a motion-picture camera and a projector known as the Selig Polyscope. His experimental work brought him into conflict with Thomas Edison, who also was deeply interested in film recording and projection, and for years the two were involved in patent litigation.



Selig first visited California in 1893, but made his first commercial picture three years later in Chicago. One of his early films, The Count of Monte Cristo (1907), was photographed on the roof of a Los Angeles office building.



In the spring of 1909 Selig established a temporary studio in a small building behind a Chinese laundry on Olive Street between Seventh and Eighth Streets in what is now downtown Los Angeles. There, Francis Boggs directed In the Sultan’s Power (1909). The following August, Selig and Boggs moved to an area known as Edendale, setting up Los Angeles’ first permanent studio in a rented bungalow at 1845 Allesandro Street (now Glendale Blvd.).



Edendale soon became Selig-Polyscope’s headquarters. Selig sparred no expense in fitting up the permanent studio. The company built the exterior, which faced Allessandro (Glendale) Street, to represent an old Spanish mission and used genuine adobe. In the interior was sunk an enormous water tank. The studio itself, composed entirely of glass, was the second largest of its kind in the world at the time. It contained stages, dressing rooms, offices, and a modestly sized film laboratory. The total cost of the studio renovations was estimated to be a quarter-million dollars



The Selig-Polyscope company produced hundreds of short features here, including many early westerns featuring Tom Mix. The studio made dozens of highly successful films, among them was The Spoilers (1914), probably their best feature-length effort starring William Farnum, Kathlyn Williams and Tom Santschi.



Actor Hobart Bosworth, who was one of the Selig regulars, made many of his early films at the Edendale studio.



“The first picture I did on my return to (Selig) in Edendale was called The Roman,” Bosworth recalled in 1929. “We had good little sets and costumes. The story I recognized at once. It was Sheridan Knowle’s old tragedy of Virginius. Tom Santschi, Frank Montgomery, Jim McGee, Frank Richardson, Stella Adams, Iva Sheppard, William Harris, Betty Harte, Roscoe Arbuckle, Robert Z. Leonard were among those in it.



“(Francis) Boggs asked me as we finished this picture in three days, if I could remember another Roman story that we could do with this scenery and costume investiture. I was able to dig one out.”



Photo above shows Selig’s lot in Edendale where he built the first official motion picture studio (LAPL)


Remembering the early days of the Edendale studio, Bosworth said:



“This was a little frame hall used by a local improvement society with little cubicles for dressing-rooms, a barn at the back for props and scenery and in front of it a little 16×20 platform of asphalt or cement with two by fours laid laterally to nail the braces to. Great things sprang from that little source, great things for Los Angeles, greater for the world.”



Tragically, the first celebrity murder also occurred here on October 27, 1911 when Frank Minematsu, the studio caretaker, went berserk and shot and killed director Francis Boggs. In the struggle to retrieve the gun, William Selig was shot and wounded in the arm.



Ironically, the day before Boggs’ murder, producers David Horsley and Al Christie made their first film in a little community to the west called Hollywood.



Film companies that popped-up in Edendale near Selig-Polyscope included Pathé, Bison and Mack Sennett Studios.



In 1915, Selig moved his company to Lincoln Park where he also established a zoo, and the Edendale lot was taken over by Fox Studios. Over the years several production companies produced films on the old Selig lot, including J. Warren Kerrigan Studios, Marshall Neilan Studios and Garson Studios where Clara Kimball Young produced her films. Among those who made films here were Thomas Ince, Conway Tearle (Michael and His Lost Angel, 1920) and Marie Prevost (Beggars on Horseback, 1924).



Garson Studio map


A map of the studio when it was known as Garson Studios in the mid 1920s. Note: The street address was originally Allesandro before it was changed to Glendale.




Postcard of the former Selig-Polyscope Studio (known as Garson Studios here) in the mid 1920s. (Postcard courtesy of Greta de Groat)


Selig-Polyscope location


Above is the site of the former Selig-Polyscope as it appears today. Compare it to the postcard above. The inclined street on the left, which is Clifford, and the hill in the background have not changed.


Selig-Polyscope location

Another angle of the former location of Selig-Polyscope Studios.


Sadly, the site of the former Selig-Polyscope studios is now an empty lot in a mostly industrial area. The community that surrounds the spot and the people who pass by are most likely unaware of the historical significance of the site. It’s unfortunate that an archeological dig could not be done there before a warehouse or some other industrial building is constructed.



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