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Posts Tagged ‘“b movies”

 I don’t remember not doing business with VCI.

 

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   Bill Blair, Rebecca Garza-Ortiz (nee Blair) [1976]

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 Betty Scott [1969]

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 Bob Blair [early 1970s]

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 Don Blair [1970s]

Our relationship began 40 years ago, after I started Kit Parker Films in 1971. I contacted VCI, then known as United Films,  a  16mm film distributor like KPF, only larger, and I licensed my first studio films. Based in Tulsa, Oklahoma, United Films’ CEO was Bill Blair*, a consummate film buff who passed his love-of-film genes onto his children.

Over time I grew to know Bill, his son Bob and Genell (Bob’s wife) as I frequently called them in the days when I was distributing movies to the Pacific Islands. Another Blair son, Don, toiled in the shipping department. Betty Scott, worked behind the scenes and wrote the checks. Many years passed before I personally met everyone in the flesh.

In the late 1970s, United Films was one of the first to realize that the future was in selling pre-recorded VHS and Betamax (remember?) tapes. United Films became VCI Entertainment, a pioneer in what we now take for granted…”Home Video.” At first they only licensed movies from various producers and paid them a percentage of each video sold. Then they realized by producing their own movies they could keep all the money:

Voila…VCI’s first in-house production — “Blood Cult” (1985) (3.3 out of 10 on IMDb). During the days of “sell-through,” it retailed for $59.95 ($130 in 2014 dollars) and made a bundle because these tapes were primarily purchased by rental stores like Blockbuster, West Coast Video, and countless independents hungry for product. The era of inexpensive “sell through” DVD’s hadn’t blossomed as yet. Their other in-house low-budget video productions were also successful, although not among the AFI’s 100 greatest American movies of all time.

Today, VCI is one of the oldest independent home video companies, and its story is worthy of a book, but none of the Blair’s have time to write a chapter.

United/VCI left the 16mm business in the early 1980s, whereas I continued representing studios and independent producers non-theatrically and theatrically until 2001. I was one of the last men standing in that field before celluloid became obsolete.

That didn’t end my relationship with VCI, but revived it.

Hello DVD’s!

I began buying rights to old movies and licensed them to VCI for DVD distribution. Not sure if we wrote a formal contract…a handshake in Oklahoma is firmer than a written contract.

40 years later, who do I still work with with VCI?  I’m on the phone with Bob Bair, Don Blair, and Betty Scott. Genell (she could write jokes for Don Rickles), and Don’s wife, Jill, figured one film nut in the family was enough. However, their “retirement” recently ended when they were recruited to caption the VCI library for the hearing impaired.  Unfortunately, Bill Blair passed away in 2006.

Another Blair son, David, previously worked for Sony, and had a client so important he moved to its home town…Wal-Mart, in Bentonville, Arkansas. Now he’s in charge of VCI’s sales while living in Atlanta. I’ve only met him once, but there is no doubt he is the right man for the job.

OK, let’s take a tour of VCI in Tulsa Oklahoma:

It is an unassuming single-story building on the outskirts of Tulsa (trivia: the most inland seaport in the United States) with offices fronting a warehouse.

Entering VCI’s lobby you’re greeted by a display filled with DVD’s, posters, and a big photograph of VCI’s founder, Bill Blair, with the statement, “Our Leading Man.”

To the right is Betty Scott’s office, with a John Wayne standee to greet you. She and I are kindred spirits because we both started out in “show business” as film inspectors. I shudder at the thought of her retiring. Although I’ve never looked behind her desk, Bob and Don probably have affixed her leg to a ball and chain.

Next office: Bob, conductor of the “orchestra.” The Maestro sits at a desk stacked with teetering papers and DVDs. I can’t imagine how many emails he receives every day. Sometimes a dozen in one day from me! Maybe if Betty writes me an extra big royalty check, I’ll send him and Genell on a long vacation; they deserve one.

Next stop is the control room — similar to the space station. It’s where the restoration, authoring, and graphic design are created. There are computers and monitors all over the place, and I can’t tell you how they do one single thing. All I know is film splicers have gone the way of the buggy whip. Tiffany Beseau-Clayton is the head rocket scientist, and there is Ben Hosterman, and his brother, Greg Hosterman, known as the “graphics guy.” They all belie the popular psychology belief that individuals are either “right brain” (creative) or “left brain” (logical). They are always open to suggestions…no egos at VCI.

Jason Blair, Bob and Genell’s son, works next door replicating special order DVD-R’s.

And then you walk into their warehouse. Wow…manna from heaven for film buffs; a warehouse filled with DVD’s awaiting shipment to customers like (hopefully) you. It’s the domain of Bill Blair’s daughter, Rebecca Garza-Ortiz (who wears many hats,) her husband Steve, and daughter, Olivia.

There are many reels of old film Bill once tried to sell me four decades ago. For years Bob’s been telling me that someday he’s going to ship it all to an archive, but the same cans and boxes have sat there for as long as I remember. Someday never seems to come.

Now pass through the swinging door and meet Penny Brokaw. She handles billings and is the voice of the person who takes your order. I think she has a ball and chain under her desk, too. As you’ve gathered by now, VCI is a pleasant place to work.

In the next office is Exec V.P., Don Blair. He has even more paper stacked on his desk than Bob. Don says he has a TV with Roku in every room in his house. I believe it. His favorite two topics are: sales are going to be off the charts next year (hopefully true) and VCI doesn’t get credit due for its quality restoration work (always true.)

Last is the conference room where Bob, Don and I, and often joined by our friend and collaborator, Steve Durbin, have spent many an hour talking about business, often digressing into tales about various colorful characters and crooks whom we’ve all dealt with throughout the years. We used to sit around grousing about our various physical maladies until Bob said we were complaining like a bunch of old men. If the shoe fits… (But, we did stop complaining.)

Many home video companies have come and gone over the years. Sure, I’ve had other companies ask to distribute my movies. Maybe I’d make more money, but would the graphics be right? Would I get paid? Why bother?

I’ve got an Oklahoma handshake. 

UPDATE:  VCI Entertainment and Kit Parker Films join forces in The Sprocket Vault.

—————-

Visit our website to order DVDs from the Kit Parker Films Collection –

www.sprocketvault.com

Keep up to date with our new Sprocket Vault releases by liking us on Facebook www.facebook.com/sprocketvault/

Also, be sure to subscribe to our YouTube channel:

https://www.youtube.com/channel/UCLHjjG-o5Ny5BDykgVBzdrQ

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I hired a private investigator to find the heirs…

 

My passion is to seek out “orphan” movies, and adopt them into my film library.  Sometimes it takes a few months, sometimes over 10 years.  I never give up.

 

First, I need to determine why a movie has been lost in limbo for 50 years or more.  It takes lots of digging through old contracts, copyright records, television syndication files, and so forth.  Here’s the short version on how I unearthed the “Mr. District Attorney” and “Counterspy” movies.

 

By 1961, the rights to both series reverted to Phillips H. Lord, creator of the radio programs.  However, he elected to do nothing with them, and died in 1975.  My next job was to find out who inherited the movies.

 

As with comic strips (see previous blog: “Lost and Found – Gasoline Alley and Friends”,) radio programs were naturals for the movies, and studios actively acquired the best programs for transition into motion pictures.  Not all the deals were the same, but generally they seldom varied much from this:

 

The Creator of the radio show licenses a studio the exclusive use of the title, and characters in a radio show.  Usually option money is paid to the creator, and the studio has a year or so to exercise the option, otherwise all rights (and the money!) revert to the Creator.

 

If and when the option is exercised, the studio pays the Creator the licensee fee, and commences production on the first film.  The distribution deals normally had a duration of 7 – 10 years.  After that, the studio and creator may or may not renew the license.  If not, the movie falls into limbo because it cannot be exploited without the agreement of both the studio (owner of the negative) and the radio producer (owner of the underlying rights.)  Occasionally the creator was assigned all rights to the negative and walked away with full ownership of the film.

 

April 3, 1939, marked the start of a 13-year run of the popular crime drama, “Mr. District Attorney,” first on NBC, and later, ABC.  It was the creation of Phillips H. Lord, a successful and respected producer during radio’s golden age.  He created 16 dramatic radio series, including “Gangbusters,”  authored six books, and 15 musical compositions.

 

In 1940 Lord licensed Republic Pictures rights to produce three feature films based on the characters appearing in the “Mr. District Attorney” radio program. The resulting films were “Mr. District Attorney” (1941), with Dennis O’Keefe, Florence Rice, and Peter Lorre, directed by William Morgan, “Mr. District Attorney in the Carter Case” (1941), with James Ellison and Virginia Gilmore, directed by Bernard Vorhaus, and “Secrets of the Underground” (1942), with John Hubbard and Virginia Grey, directed by William Morgan.  I have no details on the original deal other than all rights were to revert to Lord in 1948, and the productions could not be shorts, serials or television programs.

 

In 1945 Columbia Pictures approached Lord to produce two of their own MDA movies.  The problem, of course, was that Republic still had 3 years left on its two picture deal, and Columbia didn’t want two other MDA movies in the marketplace, since Republic would inevitably sieze the opportunity to re-release their own MDA films in order to capitalize on any forthcoming Columbia productions.  This prompted Lord to exercise a $750 option contained within the Republic/Lord contract, against $7,500 to buy outright the negatives to “Mr. District Attorney” and “Mr. District Attorney and the Carter Case.”  “Secrets of the Underground” remained with Republic (now, Paramount), presumably because the main title wouldn’t conflict with the new Columbia productions, although at one time Republic later did re-title the movie “Mr. District Attorney Does His Bit.”

 

The 7-year Columbia deal was set to go upon payment of $30,000 (approx. $400,000 in 2014 dollars), which included rights to the 9 months of radio scripts aired prior to February 29, 1940, a quitclaim of rights to the Big Little Book, “Mr. District Attorney on the Job” (aka “Smashing the Taxi Cab Racket”) (1941), along with four Dell Comics, “The Funnies,” from 1941-42.  A prerequisite minimum negative cost of $150,000 per picture assured Lord the movies would have at least respectable production values.

 

The result was “Mr. District Attorney” (1947) with Dennis O’Keefe, Adolph Menjou (!), and Marguerite Chapman, directed by Robert B. Sinclair.  A second feature was never produced, and the reason why is open to conjecture.  However, some sort of arrangement between Lord and Columbia was made to allow ZIV to produce a TV series based on MDA for the 1951-52 season, and again for 1954-55.

 

In 1949 Columbia again approached Lord, this time to acquire rights to produce one or two features based on another one of Lord’s hit radio crime dramas, “Counterspy,” which first aired in 1942 on the NBC Blue Network, and continued through 1957.  The deal was $15,000 per feature, with an extended playoff of 15 years, resulting in “David Harding, Counterspy (1950), with Willard Parker, Audrey Long, and Howard St. John (as the title character), directed by Ray Nazarro, and “Counterspy Meets Scotland Yard” (1950) with Howard St. John (top billing this time), Ron Randell and Amanda Blake, directed by Seymour Friedman.

 

Steve Wachtel to the rescue…

 

I retained a frequent collaborator, prominent Los Angeles-based private investigator, Steve Wachtel.  As a movie buff he enjoys my assignments of determining the who and where of heirs to film people.

 

In the case of Phillips H. Lord, the heirs turned out to be three sisters, one lived in New York City, and the other two  only a dozen miles from me, one in Glendale AZ, and the other in Scottsdale.  None had any idea they owned any movies.

 

I made a deal with them for all rights.

 

Next job:  Find good film elements from which to digitize.  The original nitrate negative of “Mr. District Attorney” (1941) had decomposed, and only the picture negative survived, and it was in poor condition.  I found an excellent duplicate safety film negative at the British Film Institute in London, and borrowed it to make a digital master.  “Mr. District Attorney in the Carter Case” only survived only as a poor condition nitrate picture negative, as well, but couldn’t locate a sound track…and I searched around the world.  Let’s consider it lost…for now.

 

Normally film elements aren’t an issue because most movies were released to TV, thus requiring multiple duplicate elements on safety film.  But since the two Republic MDA’s had never been reissued theatrically, or sold to TV, there was no need to create duplicates.  What is left of the original nitrate negatives are stored at the UCLA Film and Television Archive.

 

The Columbia movies were another story…there were plenty of film elements still stored by the studio, and they were cooperative in giving me the material.  I came up with advertising materials from Columbia, The Margaret Herrick Library (AMPAS), and good old eBay.

 

One of the pleasures of my business is producing extra features for the DVD’s.

 

One Lord sister graciously invited me to her house and showed me scrapbooks of her family, and father at work, then allowed me to copy them.  She later consented to an interview by film historian, Richard M. Roberts, who is also an expert on golden age radio.  And as always he knows the right questions to ask.

Phillips H. Lord Radio Programs:

Commandos

Counterspy (aka: “David Harding, Counterspy”)

The Cruise of the Seth Parker

Gang Busters  (Original title: “G-Men”)

Mr. District Attorney

The Country Doctor (aka: The Old Country Doctor)

Phillip Morris Playhouse (Original title: “Johnny Presents”)

Police Woman

Sunday Evening at Seth Parker’s

Seth Parker’s Singing School

Sky Blazers

The Stebbins Boys

Treasury Agent

Uncle Abe and David

Under the Sidewalks of New York

We, the People

Books:

Seth Parker and His Jonesport Folks

Seth Parker Fireside Poems, Gems of the Air

Seth Parker’s Album

Seth Parker’s Hymnal

Seth Parker’s Scrap Book

Uncle Hosie the Yankee Salesman

Feature Films:

 Counterspy Meets Scotland Yard *

David Harding, Counterspy *

Gang Busters (1945 serial)

Gang Busters (1955) (Compilation of “Gang Busters” TV episodes)

Guns Don’t Argue (Compilation of “Gang Busters” TV episodes)

Mr. District Attorney (1941) *

Mr. District Attorney (1947) *

Mr. District Attorney in the Carter Case (Only picture negative survives)

Obeah (Lost film)

Secrets of the Underground

Way Back Home

Television Programs: 

The Black Robe

Gang Busters

Mr. District Attorney

Musical Compositions:

Back in the Old Sunday School

(with May Singhi Breen and Peter De Rose.)

Has Anybody Found a Trouble?

Heavenly Jewels

If You’re Happy

Jesus Is My Neighbor

Sailing with My Father

That First Little Sweetheart of Mine

There’s Four in Our Family

We Are Gathering with the Lord Today

You Go to Your Church and I’ll Go to Mine

To order on DVDs, visit our site –

www.sprocketvault.com

Keep up to date with our new Sprocket Vault releases by liking us on Facebook www.facebook.com/sprocketvault/

Also, be sure to subscribe to our YouTube channel:

https://www.youtube.com/channel/UCLHjjG-o5Ny5BDykgVBzdrQ .

(c) 2014 Kit Parker Holdings LLC

 

 

 

 

 

 

 

 

 

 

 

 

…producer-exhibitor Robert L. Lippert’s mantra and, appropriately, the title Mark Thomas McGee’s biography/filmography of the man and his films as published by BearManor Media.   I’m a B-movie aficionado, and this book is a real page-turner.

 

“I’m not in this for personal glory, I’m giving the public and the exhibitors the films they want for purely commercial reasons.”  – Robert L. Lippert

 

Robert L. Lippert, produced close to 250 feature films, including “The Steel Helmet” (1951), and “The Fly” (1958), and distributed scores more on behalf of other producers.  He launched the careers of Samuel Fuller, James Clavell, and others; and owned a theatre circuit of well over 100 theatres.  But, he flew under the radar to the degree that only hard-core movie buffs even know him.  My company owns all rights to over 100 Lippert productions, and I tried to shed at least some light on Lippert and his films in my blogs and DVD special features, but Mark does the job right.

 

Mark McGee wasn’t given an easy task:  Lippert shied away from giving interviews, and only two people who worked with Lippert are still living, actress Margia Dean, and production head/producer/director Maury Dexter.  Mark really did a lot of digging and I believe has revealed almost  everything about Lippert that isn’t lost to time.

 

Lippert’s biography is intertwined with Mark’s observations about the films as separated into four main chapters dealing with Lippert’s four production companies: Screen Guild Productions and Lippert Pictures (produced and distributed in-house), Regal Films, Inc., and Associated Producers (produced for release through Fox).  I think this was the appropriate method because in real life it was truly hard to separate Lippert the man from his movies (and his theatre circuit.)

 

Lippert seldom had artistic pretentions.  Many of his productions are at best less than notable — certainly by and large ignored by the critics.  Mark lists every, and describes most, Lippert film.  I really enjoyed the comments of exhibitors who actually played the films.  This was back in the day when every small-town theatre manager stood in the lobby and said goodnight to patrons as they exited.  Sometimes the managers hid, but most times the audiences for whom Lippert produced his films were more than satisfied.  Less sophisticated audiences during the 1940s and early 1950s often preferred Lippert productions over those from the major studios.  Don’t believe me?  Read the book!   I read every one of those critiques in one sitting.  Better than a box of See’s Candies.

 

Lippert productions and co-productions available on DVD from VCI Entertainment:

 www.vcient.com

Key: Theatrical distributors: LP = Lippert Pictures; SG = Screen Guild Productions; Hammer = Lippert/Hammer Films Co-production

APACHE CHIEF (1950) LP

ARSON, INC. (1950) LP

AS YOU WERE (1951) LP

BAD BLONDE (1953) UK: Flanagan Boy, Hammer, LP

BANDIT QUEEN, THE (1950) LP

BIG CHASE, THE (1954) LP

BLACK GLOVE, THE (1954) UK: Face the Music, Hammer, LP

BLACK PIRATES, THE (El pirata negro) (1954) US-Mexico, LP

BLACKOUT (1954) UK: Murder by Proxy, Hammer, LP

BORDER RANGERS (1950) LP

CASE OF THE BABY SITTER (1947) Featurette, SG

COLORADO RANGER – TV: Guns of Justice (1950) LP

COWBOY, THE (1954) LP

CROOKED RIVER – TV: The Last Bullet (1950) LP

DALTON GANG, THE (1949) LP

DANGER ZONE (1951) LP

DEADLY GAME, THE (1954) UK, Third Party Risk, Hammer, LP

DEPUTY MARSHAL (1949) LP

EVERYBODY’S DANCIN’ (1950) LP

FANGS OF THE WILD aka Follow the Hunter (1954) LP

FAST ON THE DRAW – TV: Sudden Death (1950) LP

FBI GIRL (1951) LP

FINGERPRINTS DON’T LIE (1951) LP

GAMBLER AND THE LADY (1952) UK, Hammer, LP

GLASS TOMB, THE (1955) UK: The Glass Cage, Hammer, LP

GREAT JESSE JAMES RAID, THE (1953) LP

GUNFIRE (1950) LP

HAT BOX MYSTERY, THE (1947) Featurette, SG

HEAT WAVE (1954) UK, House Across the Lake, Hammer, LP

HELLGATE (1952) LP-D

HIGHWAY 13 (1948) SG

HI-JACKED (1950) LP

HOLIDAY RHYTHM (1950) LP

HOLLYWOOD VARIETIES (1950) LP

HOSTILE COUNTRY – TV: Outlaw Fury (1950) LP

I SHOT BILLY THE KID (1950) LP

I’LL GET YOU (1953) UK: Escape Route, LP

JUNGLE GODDESS (1948) SG

JUNGLE, THE (1952) LP

KENTUCKY JUBILEE (1951) LP

KING DINOSAUR (1955) LP

LEAVE IT TO THE MARINES (1951) LP

LITTLE BIG HORN (1951) LP

LOAN SHARK (1952) LP

LONESOME TRAIL, THE (1955) LP

MAN BAIT (1952) UK: The Last Page, Hammer, LP

MAN FROM CAIRO, THE (1953) Italy-UK-USA, LP

MARSHAL OF HELDORADO – TV: Blazing Guns (1950) LP

MASK OF THE DRAGON (1951) LP

MASSACRE (1956) Fox

MOTOR PATROL (1950) LP

MR. WALKIE TALKIE (1952)

OPERATION HAYLIFT (1950) LP

OUTLAW COUNTRY (1949) SG

PAID TO KILL (1954) UK, Five Days, Hammer, LP-D

PIER 23 (1951) LP

QUEEN OF THE AMAZONS (1947) SG

RACE FOR LIFE (1954) UK: Mask of Dust, Hammer, LP

RADAR SECRET SERVICE (1950) LP

RENEGADE GIRL (1947) SG

RETURN OF JESSE JAMES, THE (1950) LP

RIMFIRE (1948) LP

RINGSIDE (1949) LP

ROARING CITY (1951) LP

SAVAGE DRUMS (1951) LP

SCOTLAND YARD INSPECTOR (1952) UK: Lady in the Fog, Hammer, LP

SHADOW MAN, THE (1953) UK: Street of Shadows, Hammer, LP

SILVER STAR (1955) LP

SINS OF JEZEBEL (1953) LP

SKY HIGH (1951) LP

SKY LINER (1949) LP

SQUARE DANCE JUBILEE (1949) LP

STOLEN FACE (1952) UK, Hammer, LP

STOP THAT CAB (1951) LP

THEY WERE SO YOUNG (1954) W. Germany-USA, LP

THREE DESPERATE MEN (1951) LP

THUNDER IN THE PINES (1948) SG

TRAIN TO TOMBSTONE (1950) LP

TREASURE OF MONTE CRISTO (1949) LP

UNHOLY FOUR, THE (1954) UK: The Stranger Came Home, Hammer, LP

VARIETIES ON PARADE (1951) LP

WEST OF THE BRAZOS (1950) LP

WESTERN PACIFIC AGENT (1950) LP

WILDFIRE (1945) SG

WINGS OF DANGER (1952) UK; Dead on Course, Hammer, LP

YES SIR, MR. BONES! (1951) LP

Lippert productions directed by Samuel Fuller arevailable on DVD from the Criterion Collection

BARON OF ARIZONA, THE (1950) LP

I SHOT JESSE JAMES (1949) LP

STEEL HELMET, THE (1951) LP

 

To order DVD’s, visit our site –

www.sprocketvault.com

Keep up to date with our new Sprocket Vault releases by liking us on Facebook www.facebook.com/sprocketvault/

Also, be sure to subscribe to our YouTube channel:

https://www.youtube.com/channel/UCLHjjG-o5Ny5BDykgVBzdrQ .

 

 

When I think of movies like “Hellgate” (Lippert/1952), directed by Charles Marquis Warren, and “The Tall Texan” (Lippert/1953), directed by Elmo Williams (Oscar-winning film editor on “High Noon”), I marvel at how  directors like that were able to produce really entertaining films on a minimal budget (and an even more minimal shooting schedule.)

David Schecter does the same, only he thinks of the composers, in this case, Paul Dunlap and Bert Schefter.

“Monstrous Movie Music” is the name of David’s company.  He specializes in producing CD’s with music scores from lower-tier science fiction films, but there are a few “A” features as well. These movies were helped immeasurably by the gifted composers, who like their director and producer counterparts, relegated to the demands of low budgets and extremely tight production schedules.

Some bring back fond memories of my going to the movies as a kid at the State and Rio Theatres in Monterey, CA:  “The Blob” (Paramount/1958) composed by Ralph Carmichael; “The Last Man on Earth” (AIP/1964), composed by Paul Sawtell and Bert Schefter; “The Brain From the Planet Arous” (Howco/1957), composed by Walter Greene.  I remember as the end title on “Arous” came on the screen and thinking I’d just wasted $.50.  My disappointment was forgotten after watching the co-feature, “The Alligator People” (API-Fox/1959), composed by Irving Gertz, exemplifying there is no accounting for the taste of an 11-year-old.

David Schecter is a champion of composers, especially the lesser-known ones, many of whom he knew personally, and dedicates himself to making their scores available.  He and his staff have gone to the trouble of re-recording the scores utilizing renowned symphony orchestras in Poland and Slovakia when they aren’t releasing original soundtracks.  He write superb liner notes as well.

Monstrous Movie Music:

http://www.mmmrecordings.com/index.htmlb

The movies themselves are available on DVD from VCI Entertainment:

http://kitparker.com/buy.php

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“Hellgate,” starring Sterling Hayden, Joan Leslie, Ward Bond, and James Arness (one of my favorites), directed by Charles Marquis Warren, is part of the two-disc DVD collection titled, “Darn Good Westerns”  Volume 1, featuring five additional titles, “Panhandle” (Allied Artists/1948) with Rod Cameron, in “glowing Sepiatone,” and four from Lippert Pictures, “Fangs of the Wild” (1954),  with Charles Chaplin, Jr., and underrated actress Margia Dean in one of her best roles, “The Train to Tombstone” (1950) which is a Don “Red” Barry western, “Operation Haylift” (1950) with Bill Williams and Ann Rutherford, and “Wildfire – The Story of a Horse” (1945) starring Bob Steele, in Cinecolor, which was the first production from legendary exhibitor turned producer, Robert L. Lippert.

“The Tall Texan,” is a solid western starring Lloyd Bridges and Lee J. Cobb, with cool special features, including “The Making of ‘The Tall Texan’” by Elmo Williams (still alive at age 100!); audio reminiscences by Ross May, a wrangler for the movie; the original theatrical trailer, and Chapter 1 from “Secret Agent X-9” (1945).

On the subject of Elmo Williams, I highly recommend “The Cowboy” (Lippert/1954), a feature length documentary filmed in color.  Both “The Tall Texan” and “The Cowboy” were made in Deming NM where in 2005 my wife Donna and I went to produce the commentary featuring reminiscences of four of the original cowboys who starred in the film.  Listening to these authentic cowboys fifty years later is a hoot…worthy of a blog of its own.

*Usually credited as a Lippert production, it was actually an independent film from producer by John C.  Champion (brother of Gower), under his Commander Films banner.  Champion also produced “Panhandle.”

http://fiftieswesterns.wordpress.com/2013/04/02/50s-western-scores-by-paul-dunlap-and-bert-shefter/

Visit our website to order DVDs –

www.sprocketvault.com

Keep up to date with our new Sprocket Vault releases by liking us on Facebook www.facebook.com/sprocketvault/

Also, be sure to subscribe to our YouTube channel:

https://www.youtube.com/channel/UCLHjjG-o5Ny5BDykgVBzdrQ .

 

 

There are low budget movies, and there are no-budget movies.

1926

 

        The sound-era came to Weiss Bros. – Artclass Pictures a year before Vitaphone and “The Jazz Singer.”

        Dr. Lee DeForest developed a sound-on-film process in the early 1920s, and many short films used this process, including vaudeville acts and “Song Car-Tunes” produced by Max Fleischer, featuring the bouncing ball. At one time Louis Weiss was the general manager of the DeForest Phonofilm Corporation, but found it difficult to interest the major studios in licensing the early sound process, despite the comparatively good technical quality of many of these films.

        In 1926 Louis persuaded the Phonofilm board to allow Weiss Bros. –Artclass Pictures into distributing a series of the Fleischer cartoons.  The major studios controlled the best theatres, and they weren’t interested in booking the shorts, but Artclass was able to place them into some of the better independent cinemas.  However, the system was doomed, not only by studio indifference, but a series of misfortunes and patent lawsuits that Dr. DeForest was unable to overcome.

1927 – 1928

Artclass produced and released only silent films during these two years.  (See my earlier posts.)

1929

        By the later part of the 1920s, the Brothers Adolph, Louis and Max had amassed a considerable amount of valuable real estate, and traded heavily on the stock market.  After the market crash, their highly-leveraged holdings tumbled and much of their fortunes vanished. Among their losses included the property that later became the site of the 1939 New York World’s Fair.  

        The first Weiss Bros. talkie was “Unmasked” a leaden and stage-bound mystery based on a Craig Kennedy crime novel, and starring Robert Warwick.  It survives only in fragments.

        “Unmasked” was the last collaborative production effort by the three Weiss brothers.  Thereafter, Louis Weiss became the driving force behind Artclass and its future offshoots, although his brothers, Adolph and Max retained a modest financial interest until 1935.

        The only other releases for 1929 were two silent films to which Artclass had only limited rights:  An Art Mix western, produced by Victor Adamson, “Below the Border”; and “Two Sisters” a crime adventure starring Viola Dana, in a dual role, and Rex Lease.  

1930

        Next year, as expected, there was a lean release schedule.  Only one film, “Damaged Love,” (alternate title: “Pleasant Sins”), managed to complete production.  Starring future cowboy star Charles Starrett (as Charles R. Starrett), the melodrama was based on a 1919 play, “Our Pleasant Sins.”  Much needed cash was brought in to Artclass when Louis arranged a buyout deal for the film with Sono-Art World Wide Pictures, which released it early the next year.

        Weiss picked up two exploitation melodramas from Windsor Picture Plays: “Her Unborn Child,” an anti-abortion melodrama based on the play of the same name, of note because it was Elisha Cook, Jr.’s. debut film role (Louis made several unsuccessful attempts at getting the picture remade as late as 1955); and, “Today,” acquired from Majestic Pictures on a limited distribution basis, starring Conrad Nagle…a topical subject about a wealthy couple losing their fortune, with the exploitation angle being the wife’s wandering into prostitution rather than giving up her lavish lifestyle. 

1931

 

        Artclass reactivated when Louis concluded a deal with Alfred T. Mannon’s Supreme Features, Inc., Ltd. (not to be confused with A. W. Hackel’s Supreme Pictures*) to produce and/or finance a slate of pictures.  In 1933 H.E.R. Laboratories foreclosed on the pictures, and conveyed them to  Aladdin Pictures Corp. (Samuel Tulpin), which caused a series of legal problems because Max Weiss had licensed the pictures to States Rights distributor, J. H. Hoffberg Co. without the permission of H.E.R. or Aladdin.  The suit continued for a year until Artclass settled with Tulpin and took undisputed legal possession of the library.

        The movies were produced by Louis Weiss and frequent Weiss collaborator, George Merrick, although the producer credit given is Supreme Features, Inc., Ltd., Alfred T. Mannon, President. (Mannon went on to form Resolute Pictures.)

 

        The slate of Supreme Features pictures were comprised of a romantic-drama, “Pleasure,” starring Conway Tearle and Carmel Myers; a crime-drama, “Night Life in Reno,” with Virginia Valli; a mystery, “Convicted,” starring Aileen Pringle; and “Cavalier of the West,” the first of four westerns starring Harry Carey.  The balance of the Supreme titles were released later in 1932.  

        Another five features were acquired from independent producers for distribution on a limited territory basis: “Maid to Order,” was the first release from the “new” Artclass, it came from Jesse Weil Productions and starred the legendary female impersonator, Julian Etlinge; “Pueblo Terror,” a Buffalo Bill, Jr. western from West Coast Pictures ; “White Renegade,” a western from Carlsbad Productions starring Tom Santschi; a crime melodrama, “The Sea Ghost,” starring Alan Hale and Laura LaPlante from Peerless Productions (Alfred T. Mannon); a horror-thriller oddity, “The Phantom,” with a miscast Guinn “Big Boy” Williams; and a drama, “Soul of the Slums,” starring William Collier, Jr., the latter two from producer Ralph M. Like.

1932

 

        “Uncle Moses” was certainly a unique 1932 release, and the only production from Louis Weiss’, Yiddish Talking Pictures, Inc.  Produced by Louis, and spoken entirely in Yiddish, it came about at the suggestion of his friend, German director, Max Nosseck, who had produced “Der Schlemiel” the year before.  Based on the 1919 novel by Sholem Ash, and subsequent stage play of the same name, it starred Maurice Schwartz, founder of the Yiddish Art Theatre in New York.  (Character actor, Shimen Ruskin, started his career as an assistant director on this film.) As expected, it performed well at the boxoffice in cities with large Jewish populations, especially in New York City, but it also became a non-theatrical evergreen when it was exhibited to Jewish groups in 16mm.

        Supreme Features offered “Cross-Examination,” a mystery-drama starring H.B. Warner and Sally Blane; “They Never Come Back,” a boxing drama with Regis Toomey and Dorothy Sebastian; three Harry Carey westerns, “Cavalier of the West,” “Border Devils,” and “The Night Rider,” which was the final curtain for Weiss Bros. – Artclass Pictures. “The Drifter” a melodrama starring William Farnum and Noah Beery, was acquired from producer Willis Kent for limited distribution.  

1933

        Three new entities took the now-moribund Artclass’ Pictures place: Weiss Productions, Inc. (1933-38), Superior Talking Pictures, Inc. (1933-35), and Stage and Screen Productions, Inc. (1933-46).   Robert Mintz was the president of all three, although some trades listed Edmund Souhami in the top spot.  In fact, he was only a short-time board member.  

        Louis Weiss and Robert Mintz envisioned producing movies based on plays that had been performed on Broadway.  Despite only 28 performances on Broadway, their first effort was “Before Morning,” a mystery melodrama starring Leo Carrillo, produced by Weiss Productions (Louis Weiss as supervising producer), and released by Stage and Screen. 

        Superior acquired three westerns from producer Victor Adamson, “Circle Canyon” with Buddy Roosevelt; two Buffalo Bill, Jr.’s, “Fighting Cowboy” and “Lightning Range,” particularly shoddy productions for which one would think even the most unsophisticated audiences would demand their money back; “Sucker Money” was an expose of the “psychic racket” from producer Willis Kent (as Real-Life Dramas), directed by Dorothy (Mrs. Wallace) Reid, and starring Mischa Auer.  “Trails of Adventure,” a no-budget Buffalo Bill, Jr. western, from American Pictures Corp., was released in limited territories.  Stage and Screen acquired rights for limited territories to Allied Pictures’ (M.H. Hoffman) “The Eleventh Commandment,” a drama starring Marian Marsh.

1934

 

        International Stageplay Pictures, Inc., was set up as a derivative of Superior Talking Pictures, Inc., with the goal of realizing Weiss/Mintz’ Broadway-to-film aspirations.  It’s one and only release was “Drums O’ Voodoo” (“Louisiana” was an alternate title), with an all-black cast, produced by Louis Weiss, starring Laura Bowman and J. Augustus Smith, who wrote the play and screenplay.  Produced on Broadway by the Negro Theatre Guild, it closed after less than ten performances.   The movie is little more than a filming of the play, with a miniscule budget reportedly using short ends of film stock.  In 1940 Louis reissued it under the title “She Devil.”  State’s Righter, Sack Amusement Enterprises, a specialist in distributing ‘race pictures,’ got considerable playdates for several years thereafter.  

        Exploitation Pictures, another Superior Talking Pictures spinoff, released but one picture, “Enlighten Thy Daughter” (reissue title,” Blind Fools”), a remake of a 1917 wayward-youth drama, produced by Robert Mintz and starring Herbert Rawlinson.   

        Producer Victor Adamson was responsible for three more Buffalo Bill, Jr.’s, “Rawhide Romance,” “Riding Speed” and “Lightning Bill,” and two Buddy Roosevelt’s, “Range Riders” and “Boss Cowboy,” a remake of “Cyclone Buddy” (Artclass/1924), all released by Superior. 

        Adamson told producer-historian, and editor of the favorite magazine of my youth, Screen Thrills Illustrated (1962-64), Sam Sherman, told me that Adamson accused Weiss Productions of purposefully bankrupting Superior in a scheme to swindle him out of royalties and his negatives.  I have no information on such a dispute.

        In November of 1934, Superior inked a deal with Ralph M. Like, owner of a small studio doing business as Argosy Pictures, to make two westerns for $3,900 each, and two “northwest” pictures (1930’s producer-speak for a Canadian Mounties picture) for $4,400 each, with 24,000 feet of picture and track raw stock included for each production…not a lot left over for retakes!

        Weiss Productions, formed in 1933, released its first production, a Wally Wales western, “Way of the West,” produced by Robert Tansey.

         Producer Willis Kent’s Real Life Dramas, provided a drama, directed by Mrs. Wallace Reid, “The Woman Condemned,” with Claudia Dell, and a Reb Russell western, “Fighting Through,” both released by Superior.

        Stage and Screen’s releases included “Inside Information,” with 38 and 60 minute versions (even the 38 min. version is too long!); the first of three Tarzan the Police Dog Police Melodramas from Consolidated Pictures Corp. (Bert Sternbach, Albert Herman), starring, in addition to Tarzan, of course, Rex Lease, in a rare non-western role; and the first seven of a series of eight two-reel Wally Wales and Buffalo Bill, Jr. westerns, and perhaps some other titles from William Pizor’s Imperial Productions, to which, I believe S&S had only limited distribution rights.

1935

 

        Four Rex Lease westerns came from Weiss Productions and Argosy Productions, produced by Louis Weiss and George Merrick: “Cyclone of the Saddle” (Rough Riders series), “Fighting Caballero,” “Pals of the Range,” “Rough Riding Ranger”; a northwest, “The Silent Code,” starring Kane Richmond and featuring Rex, King of Dogs as played by “Wolfgang,” produced by Louis Weiss; two more Tarzan the Police Dog’s from Consolidated Pictures, “Captured in Chinatown” with Marion Schilling, and “The Million Dollar Haul,” with Kane Richmond.

        “The Drunkard” was an old temperance melodrama allegedly first staged in 1843 by P.T. Barnum, then in 1933 it was revived on the stage at Los Angeles’ Theatre Mart.  According to the Hollywood Reporter, Louis Weiss, under the Exploitation Pictures banner (it was ultimately produced by Bert Sternbach and released as a “Weiss Production” through Stage and Screen), optioned the rights to make a motion picture.  Weiss hired former silent-era stars James Murray, ironically a chronic alcoholic after triumphing in King Vidor’s “The Crowd” (MGM, 1928), as the lead, joined by Clara Kimball Young, Bryant Washburn, and other veterans in support.  Louis planned to road show the film around the country with stars of the film making personal appearances. However, James Murray tragically died a hopeless drunk at age 35, one year after production wrapped.  

        Ten years later, Joseph E. Levine, operating from his State’s Rights film exchange in Boston, purchased all rights for $5,000 ($61,000 in today’s dollars…far more than its production budget), and cut it down for inclusion as a segment in his first feature film, “Gaslight Follies” (Embassy/1945). 

        All of the Weiss Productions were released by Superior Talking Pictures, except for “Million Dollar Haul,” which was distributed through Stage and Screen.

 

        The four proposed Argosy productions mentioned earlier ended up as  three Rex Lease westerns distributed by Stage and Screen, “Cyclone of the Saddle” “Ghost Rider” (Lone Rider series) and “Cowboy and the Bandit,” the latter somehow billed as from International Pictures.

        Stage and Screen also released two Northwest  Morton of the Mounted adventures from Weiss Productions (sometimes credited to “Empire Pictures,” which may have been only a regional distributor), “Courage of the North” and “Timber Terrors,” with John Preston, Dynamite, The Wonder Horse and Captain, The King of Dogs!

        Limited territory releases included “Get That Man” (Scott-Bennet Productions/Mayfair Pictures), with Wallace Ford, and “Arizona Trails,” an Art Mix (Victor Adamson) western.

        By this time the Brothers had the controlling interest in the Hillcrest Golf Club in Jamaica, New York, and Utopia Park Villas of Flushing New York, and Hillcrest Manor, also in Flushing.  Adolph and Max sold their film interests to Louis.

        Max Weiss left the picture business altogether and stayed on the East Coast, only occasionally visiting Adolph and Louis in Los Angeles. 

        Adolph, the introspective and much loved Weiss brother who mentored his younger brothers in the business, and set the foundation for the various Weiss brothers motion picture exhibition, production and distribution businesses, allegedly became a wealthy man.  He chose to dabble in various production manager capacities for Louis, where cast and crew affectionately called him “Uncle Adolph,” overlooking his obsession of stopping production caravans to collect empty bottles and return them for the deposits.  In his mid-50s, he pursued, and got, his dream job…working in the wardrobe department at MGM. 

        Louis continued his dream job — to produce movies, especially serials, and it wasn’t long before he earned the nickname of “Mr. Serials.”

The Serials: 1935 – 1938

 

         Louis’ first talkie chapter play was to be called “The Mysterious Pilot,” and star famed aviator, Wiley Post, who, among other feats, had been the first man to fly solo around the world.  In late July, 1935, Post told Louis he’d be ready to start work in two weeks, after returning from a flight to Siberia with Will Rogers, but the two perished in a remote part of Alaska.

        Three Weiss Productions (Louis Weiss/Robert Mintz) serials were filmed and released in quick succession in 1936, “Custer’s Last Stand,” with Rex Lease was the first.  To promote it, an elaborate insert was placed in the December 14, 1935 issue of Boxoffice Magazine (see above.)  The first three episodes received uniform acclaim in the trades, and Weiss and Mintz plastered them all over the insert.  The balance of 12 chapters were duds.    

        Louis’ son Martin told me that one of the great thrills of his youth was being on the set of “Custer’s Last Stand” and watching the wind blow the curtain off the outdoor dressing room of actress Ruth Mix (daughter of Tom Mix), completely exposing her for a brief instant for all to see…an instant he can still describe in vivid detail over 75 years later. 

 

        A Craig Kennedy mystery, “The Amazing Adventures of the Clutching Hand” (the alternate, and feature version title was “The Clutching Hand”), followed in 1936, with Jack Mulhall in the title role.  Fifteenth down the cast was Charles Locher, who became known as Jon Hall, and an instant star in John Ford’s “The Hurricane” (Samuel Goldwyn-UA/1937).  Not to miss an exploitation angle, Louis later inserted a full-frame title, “Starring Jon Hall,” into the negative.  It was such a blatant example of false advertising, even from a Poverty Row studio, that the title was subsequently removed, although it occasionally pops up on public domain DVD’s.

 

        “The Black Coin,” a mystery with Ralph Graves, was the third and final serial.  Both “Custer” and “Clutching” were also released in cut-down feature versions.

        Among the files I donated to the Margaret Herrick Library of the AMPAS, are pay stubs for the actors performing in some of the early talkies and serials, and they were miserly.  Ruth Mix, second-billed in one serial, and fourth in the other two, was paid only $3.75 a day for her work…and despite being subjected to embarrassment due to the “tent malfunction,” felt compensated enough to write a “thank you” note to Louis, asking him to consider her for any roles  in his future productions!  (Yakima Canutt was by far the highest paid performer in the three serials, getting $125 a day for risking his life doing stunt work.)

        Other proposed serials, “The Phantom Railroad,” “Pony Express,” and “Jungle Perils,” touted as an amazing African Adventure by the Intrepid Herbert Bruce, were never produced.

 

        Weiss Productions, operating as Adventure Serials, Inc., produced three chapter plays under Louis’ supervision for Columbia Pictures: “Jungle Menace” (1937), starring outdoor adventurer Frank “Bring ‘em Back Alive” Buck; “The Secret of Treasure Island” (1938) a pirate adventure starring Don Terry; and the reactivated Wiley Post adventure, “The Mysterious Pilot” (1938), starring another famous pilot, Frank Hawks, who himself died in an aviation crash one year later.  

        L. Ron Hubbard, later the founder of Scientology, regularly peddled stories to Louis, and according to Martin Weiss, said he was going to start a religion.  Louis retained Hubbard to write the screenplay for “Island,” and reportedly to work on the script for “Pilot.”   

        Upon delivery of the last serial to Columbia, the former Weiss Bros. production and distribution offshoots, for all intents and purposes ceased; although Stage and Screen continued as a corporate entity until 1946. 

 

        The majority of the original nitrate negatives of the sound era were burned in a vault fire.  I practically cried when I saw so many of the old film element cards boldly rubber stamped “AXED.” Fortunately, by that time most of the sound features and serials had been transferred to 35mm safety fine grains to facilitate the manufacture of 16mm negatives.  Although the silent features and serials were “axed,” the comedy shorts were preserved.  They are stored in temperature and humidity controlled vaults at the UCLA film and Television Archive, and the Academy Film Archive (AMPAS). 

        In 1940 Louis Weiss purchased last of the old guard, Robert Mintz’, interest in Stage and Screen Productions, and Louis’ son Adrian joined the board of directors.  It was a new era for Louis, Adrian, and, later his brother, Martin, and grandson Steven.  More “Weiss” stories to follow, and as well as a complete sound-era filmography.

* The Supreme Pictures releases were not released theatrically by any of the Weiss entities, but Louis did purchase sixteen Bob Steele and eight Johnny Mack Brown Supreme westerns  outright from A.W. Hackel in the late 1940s for use on television.

Sources: Bob Dickson, Margaret Herrick Library AMPAS   American Film Institute, Boxoffice Magazine, December 14, 1935, Film Daily Yearbook, I Went That-a-Way: The Memoirs of a Western Film Director Harry Fraser by  Wheeler  W. Dixon and Audrey Brown Fraser (Scarecrow, 1990), IMDb, International Motion Picture Almanac 1936-37, Kit Parker Collection, Margaret Herrick Library AMPAS, New York State Archives, Poverty Row Studios, 1929 – 1940, by Michael R. Pitts (McFarland, 1997), Sam Sherman, Martin Weiss, Steven Weiss, U.S. Copyright Office

(c) 2012 Kit Parker Holdings, LLC

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“Circle Canyon” http://store.vcientertainment.com/product/circle_canyon/125

“Cowboy and the Bandit” http://store.vcientertainment.com/product/COWBOY_AND_THE_BANDIT/128

“Fighting Caballero” http://store.vcientertainment.com/product/FIGHTING_CABALLERO/128

“Last of the Clintons” http://store.vcientertainment.com/product/LAST_OF_THE_CLINTONS/130

“Pals of the Range” http://store.vcientertainment.com/product/PALS_OF_THE_RANGE/145

“Range Riders” http://store.vcientertainment.com/product/RANGE_RIDERS/144

The Weiss Brothers – Artclass Pictures
 
SILENT ERA FILMOGRAPHY
 
Weiss Bros. Distribution Entities – Silent Era
Artclass:  Weiss Bros. – Artclass Pictures
Clarion:  Clarion Photoplays
Numa:  Numa Pictures Corp.
 
 
FEATURE FILMS AND SERIALS
1929
BELOW THE BORDER  
Western; Bruce M. Mitchell; Art Mix Prod.; Artclass (limited territories)
Art Mix (Victor Adamson), Ione Reed, Lafe McKee, Horace Carpenter, Alfred Hewston
 
TWO SISTERS 
Released in both silent and music track versions
Crime Drama; Scott Pembroke; Tremm Carr Prod.; Artclass (limited territories)
Viola Dana, Rex Lease, Claire Du Brey, Tom Lingham, Irving Bacon
 
1928
THE MYSTERIOUS AIRMAN, THE [Serial – 10 eps.]
Adventure; Henry Revier; Artclass; Artclass
10 eps; Walter Miller, Eugenia Gilbert, Robert Walker, Eugene Burr, Dorothy Tallcot
 
POLICE REPORTER [Serial – 10 eps.]
Crime Drama; Jack Nelson; Artclass; Artclass
10 eps; Walter Miller, Eugenia Gilbert, William Lowery, Robert Belcher, Keene Duncan
1927
ROSE OF THE BOWERY
Crime Drama; Bertram Bracken; David Hartford Prod.; Artclass (limited territories)
Johnny Walker, Edna Murphy, Mildred Harris
 
PERILS OF THE JUNGLE [Serial – 10 eps.]
Adventure; Jack Nelson, Ray Taylor; Artclass; Artclass
10 eps; Eugenia Gilbert, Frank Merrill, Bobby Nelson, Milburn Morante Al Smith 
 
1926
ACTION GALORE                  
Western; Robert Eddy; Action Pictures; Artclass
Buddy Roosevelt, Toy Gallagher, Charles Williams, Joe Rickson, John O’Brien
 
THE BLIND TRAIL                          
Western; Leo Maloney; Maloford Prod.; Clarion
Leo Maloney, Josephine Hill, Nelson McDowell, Bud Osborne, James Corey
 
COMING AN’ GOING               
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill, Jr. (Jay Wilsey), Belva McKay, Harry Todd, Hal Thompson
 
DEUCE HIGH                      
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill, Jr. (Jay Wilsey), Alma Rayford, Robert Walker, J.P. Lockney, Harry Lord  
 
DOUBLE DARING                  
Western; Richard Thorpe; Action Pictures; Artclass
Wally Wales (Hal Taliaferro), J.P. Lockney, Jean Arthur, Hank Bell, Slim Whitaker  
 
EASY GOING                        
Western; Richard Thorpe; Action Pictures; Artclass
Buddy Roosevelt, Alma Rayford, Frederick Lau, Robert Walker, Edward Heim
 
THE FIGHTING CHEAT                  
Western; Richard Thorpe; Action Pictures; Artclass
Wally Wales (Hal Taliaferro), Jean Arthur, Ted Rackerby, Fanny Midgely, Slim Whitaker 
 
HOODOO RANCH                  
Western; William Bertram; Action Pictures; Artclass
Buddy Roosevelt,  Nelson McDowell, Dixie Lamont, Frank Austin
 
RIDIN’ RIVALS                
Western; Richard Thorpe; Action Pictures; Artclass
Buddy Roosevelt, Jean Arthur, Lew Meehan
 
THE ROARING RIDER       
Western; Richard Thorpe; Action Pictures; Artclass
Wally Wales (Hal Taliaferro), Jean Arthur, Bert Lindley, Slim Whitaker, Hazel Rogers 
 
SPEEDY SPURS                   
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill Jr. (Jay Wilsey), Alma Rayford, Charles Whitaker, Jr., James Welsch, Frank Ellis
 
TANGLED HERDS                  
Western; William Bertram; Action Pictures; Artclass
Buddy Roosevelt; rest of cast unknown
TRUMPIN’ TROUBLE              
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill Jr. (Jay Wilsey), Alma Rayford, Bob Fleming, Slim Whitaker, Mark Hamilton
 
TWIN TRIGGERS, THE             
Western; Richard Thorpe; Action Pictures; Artclass
Buddy Roosevelt, Nita Cavalier, Frederick Lee, Laura Lockhart, Lafe McKee 
 
VANISHING HOOFS               
Western; John P. McCarthy; Action Pictures; Artclass
Wally Wales (Hal Taliaferro), Alma Rayford, William Ryno, Hazel Keener, Frank Ellis
 
WITHOUT ORDERS                
Western; Leo Maloney; Maloford Prod.; Artclass-Clarion
Leo Maloney, Josephine Hill, Whitehorse, Fred Burns, Frank Ellis  
 
1925
CUSTER’S LAST FIGHT 
Expansion of “Custer’s Last Stand” and “Custer’s Last Fight”; Bison; 1911-12
Western; Thomas H. Ince; Thomas H. Ince; Artclass (limited territories)
Francis Ford, Grace Cunard, William Eagle Shirt, J. Barney Sherry; Art Acord
 
DESERT DEMON                   
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill, Jr. (Jay Wilsey), Betty Morrissey, Frank Ellis, Harry Todd, John B. O’Brien 
 
DOUBLE ACTION DANIELS    
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill, Jr. (Jay Wilsey), Lorna Palmar, Edna Hall, J.P. Lockney, Edward Piel  
 
FAST FIGHTIN’                   
Western; Richard Thorpe; Action Pictures; Artclass
Buddy Roosevelt,  Nell Brantley, Joe Rickson, Emily Barrye, Sherry Tansey
 
FULL SPEED                       
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill Jr. (Jay Wilsey), Neil Brandtley, Harry Todd, Lafe McKee, Mildred Vincent
 
GALLOPING JINX                   
Western; Robert Eddy; Action Pictures; Artclass
Buddy Roosevelt, Gloria Heller, J. Gordon Russell, Ralph Whiting, Billie Bennett  
 
GALLOPING ON               
Western; Richard Thorpe; Action Pictures; Artclass
Wally Wales, Jessie Cruzon, Louise Lester, Slim Whitaker, Richard Belfield  
 
GOLD AND GRIT                  
Western; Richard Thorpe; Action Pictures; Artclass
Buddy Roosevelt, Ann McKay, William Turner, L. J. O’Connor, Wilbur Mack 
 
THE HURRICANE HORSEMAN    
Western; Robert Eddy/ Action Pictures; Artclass
Wally Wales (Hal Taliaferro), Jean Arthur, Vester Pegg, Slim Whitaker, Kewpie King
 
LUCK AND SAND                 
Western; Leo Maloney; Maloford Prod.; Artclass-Clarion
Leo Maloney, Josephine Hill, Homer Watson, Florence Lee, Tom London
 
ON THE GO                         
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill Jr. (Jay Wilsey), Helen Foster, Lafe McKee, Nelson McDowell, Rayne Hampton
 
QUICKER’N LIGHTNIN’            
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill Jr. (Jay Wilsey), Dorothy Dorr, B. F. Blinn, Harry Todd, J. Gordon Russell  
 
RECKLESS COURAGE
Western; Tom Gibson; Action Pictures; Artclass
Buddy Roosevelt, Helen Foster, J.C. Fowler, Jay Morley, William McIllwain
 
SADDLE CYCLONE               
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill Jr. (Jay Wilsey), Nel Brantley, Will Herford, Norbert Myles, Harry Todd 
 
A STREAK OF LUCK
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill Jr. (Jay Wilsey), Dorothy Wood, Nelson McDowell, Bertram Marburgh, Slim Whitaker
 
TEARIN’ LOOSE              
Western; Richard Thorpe; Action Pictures; Artclass
Wally Wales (Hal Taliaferro), Jean Arthur, Slim Whitaker, Alfred Hewston, Polly Van  
 
THUNDERING THROUGH        
Western; Fred Bain; Action Pictures; Artclass
Buddy Roosevelt, Jean Arthur, Charles Colby, Lew Meehan, Frederick Lee 
 
WIN, LOSE OR DRAW           
Western; Leo Maloney; Maloford Prod.; Artclass
Leo Maloney, Josephine Hill, Whitehorse, Roy Watson, Tom London  
 
1924
BATTLING BUDDY                 
Western; Richard Thorpe; Approved Pictures; Artclass
Buddy Roosevelt, Violet LaPlante, William Lowery, Kewpie King, Shorty Hendrix  
 
BIFF BANG BUDDY             
Western; Frank L. Inghram (Lloyd Ingraham); Approved Pictures; Artclass
Buddy Roosevelt, Jean Arthur, Buck Connors, Bob Fleming, Al Richmond
 
BRINGIN’ HOME THE BACON 
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill, Jr. (Jay Wilsey), Jean Arthur, Bet Lindley, Lafe McKee, George F. Marion 
 
THE COSMIC DRAMA 
Documentary; Raymond Ditmars; Urban-Kineto; Artclass
 
CYCLONE BUDDY                 
Western; Alvin J. Neitz; Approved Pictures; Artclass
Buddy Roosevelt, Norma Conterno, Alfred Hewston, Bud Osborne, John P. Lockney  
 
THE FALL OF JERUSALEM
U.S. release of “Jeremias”; Germany, 1922 
Biblical Epic; Eugen Illés; Spera-Film; Artclass (limited territories)
Carl de Vidal Hundt, Theodor Becker, Jaro Fürth, Werner Hollman, Georg John  
 
FANGS OF THE WOLF          
Re-edit of the serial “The Great Gamble”; Pathe, 1918
Adventure; Harry O. Hoyt (Harry Fraser); Western Photoplays; Artclass
Charles Hutchison, Leah Baird, Austin Webb, Mary Hull, Edmund D’Alby 
 
FAST AND FEARLESS          
Buffalo Bill, Jr. (Jay Wilsey),  Jean Arthur, William H. Turner, George Magrill,  Julian Rivero
Western; Richard Thorpe; Action Pictures; Artclass
 
THE FATAL PLUNGE               
Re-edit of the serial “The Great Gamble”;  Pathe, 1918
Adventure; Harry O. Hoyt (Harry Fraser); Western Photoplays; Artclass
Charles Hutchison, Leah Baird, Austin Webb, Mary Hull, Edmund D’Alby 
 
HARD HITTIN’ HAMILTON
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill, Jr. (Jay Wilsey), Hazel Keener, J. Gordon Russell, William Ryon, Lafe McKee
 
THE LAW DEMANDS               
Re-edit of the serial “Wolves of Kultur”;  Pathe, 1918
Western; Harry O. Hoyt (Harry Fraser); Western Photoplays; Clarion
Charles Hutchison, Leah Baird, Austin Webb, Mary Hull, Edmund D’Alby 
 
RADIO FLYER                
Re-edit of the serial “Wolves of Kultur”; Pathe,1918
Adventure; Harry O. Hoyt (Harry Fraser); Western Photoplays; Artclass
Charles Hutchison, Leah Baird, Austin Webb, Mary Hull, Edmund D’Alby 
 
RARIN’ TO GO
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill, Jr. (Jay Wilsey), Olin Francis, L.J. O’Connor, James T. Kelley, Dorothy Wood  
 
RIP ROARIN’ ROBERTS         
Western; Richard Thorpe; Action Pictures; Artclass
Buddy Roosevelt, Brenda Lane, Joe Rickson, Al Richmond, John Webb Dillon 
 
ROUGH RIDIN’                       
Western; Richard Thorpe; Action Pictures; Artclass
Buddy Roosevelt, Elsa Benham, Richard Thorpe, Joe Rickson,  Frances Beaumont 
 
TEN AFTER TEN
Drama; Harry O. Hoyt (Harry Fraser); Artclass; Artclass
Charles Hutchinson, Anne Luther; rest of cast unavailable
 
THUNDERING ROMANCE       
Western; Richard Thorpe; Action Pictures; Artclass
Buffalo Bill Jr. (Jay Wilsey),  Jean Arthur,  Harry Todd,  Lew Meehan, Rene Picot  
 
WALLOPING WALLACE         
Western; Richard Thorpe; Action Pictures; Artclass
Buddy Roosevelt, Violet La Plante, Lew Meehan, Noah Hendrix, Lillian Gale 
 
1923
BETWEEN WORLDS 
U.S. release of “Der müd Tod” aka “Destiny”; Germany, 1921 
Fantasy; Fritz Lang; Decla-Bioscop; Artclass; reissued in 1928 as “Between Two Worlds”
Lil Dagover, Walter Janssen, Bernhard Goetzke, Hans Sternberg, Karl Rückert
 
1922
AFTER SIX DAYS  
Condensation of “La Bibbia”; Italy; 1920
Biblical Epic; Pier Antonio Gariazzo; Appia Nuova; Artclass
Uberto Semprebene, Bruto Castellani, Mario Cionci, Augusto Mastripierti, Gabrielli 
 
THE WOMAN WHO BELIEVED   
Drama; John Harvey; Artclass; Artclass
Walter Miller, Ann Luther, Dorothy Bernard, Armand Cortez, Frank Evans
 
1921
THE ADVENTURES OF TARZAN [Serial – 15 eps.]                                   
Adventure; Robert Hill; Numa; Artclass
15 eps; Elmo Lincoln, Louise Lorraine, Percy Pembroke, Frank Whitson, George Monberg 
 
THE FOUR SEASONS 
Documentary; Raymond Ditmars; Urban-Kineto; Artclass
[Opened at the Rialto in Times Square in support to Paramount’s “The Great Impersonation”]
 
IT MIGHT HAPPEN TO YOU
Drama; Alfred Santell; Artclass; Artclass
Billy Mason, Dorris Dare, William Harcourt, Walter Beckwith, Violet Mack 
 
THE REVENGE OF TARZAN     
Adventure; Henry Revier; Numa; Goldwyn Pictures
Gene Pollar, Larla Schramm,  Estelle Taylor, Armand Cortes, Franklin Coates
 
1919
THE OPEN DOOR
Mystery; Dallas M. Fitzgerald; Artclass; Robertson-Cole
John P. Wade, Sam J. Ryan, Bob Broderick, Frank Evans, Anna Lehr
 
1916
IT MAY BE YOUR DAUGHTER
Drama; director unknown; Moral Uplift Society; Clarion
Edith Thornton, Hugh Thompson, Dorothy Gwynne, Charles Hallock, Virginia Campbell
 
Short Subjects:
Key: # reels; year; genre; producer; distributor —
“WOR” featured in “Weiss-O-Rama” 
1928-29
“BEN TURPIN COMEDIES”
2-reels; 1928-29; Artclass; Artclass
THE COCKEYED FAMILY (1928)(WOR)
aka “The Whole Cockeyed Family” 
COCKEYED HERO (1928)
THE EYES HAVE IT (1928)
dir/Leslie Goodwins
HOLDING HIS OWN (1929)(WOR)
HOLLYWOOD DRESSMAKER (1929)
dir/Leslie Goodwins
HORSE PLAY (1928)
IDLE EYES (1928)
dir/Leslie Goodwins; Georgia O’Dell, Helen Gilmore, Billy Barty
TAKING THE COUNT (1928)
TWO LONELY KNIGHTS (1928)
SEEIN’ THINGS (1928)
dir/Leslie Goodwins cst/Turpin, Georgia O’Dell, Helen Gilmore
SHE SAID NO (1928)
WHY BABIES LEAVE HOME (1928)(WOR)
 
 
“POODLES HANNEFORD COMEDIES”
2-reels; 1928-29; Artclass; Artclass
AIN’T IT THE TRUTH
AIN’T LOVE GRAND?
BETTER BEHAVE
CIRCUS DAZE
DEAF, DUMB & BLONDE
FARE ENOUGH
HELP WANTED
HIT THE HAY  
TENSHUN
WHY DETECTIVES GO WRONG
1928
“EMBARRASSING MOMENTS”
1-reel; 1928; Artclass; Artclass
CLOSE SHAVE
FOOD FOR THOUGHT
GAY NIGHTIES
IT’S A GIFT
1927-28
“LUCKY STRIKES COMEDIES”
2-reels; 1927-28; Artclass; Artclass; various casts
ALL FOR A GIRL (1927)
cst/Buddy Messinger, Marie Messinger, William T. Hayes, Joe Bonner
FLIRTING WITH THE MOVIES (1927)
HOMING BIRDS (1928)
PIE ALLEY (1928)
NEAR DEAR (1928)
JUST BOYS (1928)
SOME BABY (1928)
“JIMMY AUBREY COMEDIES”
2-reels; 1927-28; Artclass; Artclass
ALIBI ALLEY
DIZZIE DAZE  
EXCESS RELATIVES
HAVE A HEART
KEEP SMILING
MUSICAL MIXUP
SOONER OR LATER
aka “Spooner or Later”
TOO MANY WIVES
“BARNYARD ANIMAL COMEDIES”
2-reels; 1927-28; William Brown Productions; Artclass
BARNYARD FOLLY (1927)
DOWN ON THE FARM (1928)
BED CURED (1927)
FIXIN’ FATHER (1928)
BETWIXT AND BETWEEN (1928)
UPS AND DOWNS (1928)
BREAKIN’ IN (1928)
WESTWARD WHOA (1928)
dir/Max Gold
1927
“CRACKERJACK COMEDIES”
1-reel; silent; various casts
ALL ASHORE
BEAR FACTS
CAN-O-BULL CHIEF
CLEAN SWEEP, A
COFFEE AND — — —
CRAZY TO BE MARRY 
aka “Crazy to Marry”
FISH TALES
FRAMING YOUTH
GOOFY GAS
GYPING GYPSIES
HIS LUCKY DAY
dir/J. Tansey 
THE HUNTER
THE LYIN’ HUNTER
MABEL’S MATE
MAIL MAN, THE
OUT OF ORDER
OH, TAXI
PLASTERED
PLAY BALL
RAISING CAIN
SAFE AND SANE
SOUR MILK
SPOOKY SPOOKS      
SOAP AND WATE
TOO TIRED
THE WEDDING KNIGHT 
TOO BAD MEN
“GRIMM’S FAIRY TALES” 
3-reels; 1927; Cardinal Productions; Artclass
ALADDIN’S LAMP 
THE MOTHER GOOSE GIRL
LITTLE SNOW WHITE 
THE OLD WOMAN OF THE WOOD 
“MISC. 2-REEL NOVELTIES”
2-reels; 1927
JUNGLE LAND
Negative is being examined for credits
A SHORT TAIL
dir/Hal Sintzenich prod/Charles Mintz dist/Paramount
1926-28
“SNUB POLLARD COMEDIES”
2-reels;1926-28; Artclass; Artclass
ALL WET (1928)
dir/James Davis
BIG SHOT (1926)(WOR)
BUM’S RUSH (1928)(WOR)
dir/James Davis, Leslie Goodwins
DOUBLE TROUBLE (1927)
THE DOUGHBOY, THE (1926)(WOR)
dir/James Davis
FIRE!! (1926)(WOR)
dir/James Davis
HERE COMES A SAILOR (1926)
MEN ABOUT TOWN (1927)(WOR)
cst/Pollard, Marvin Loback
MITT THE PRINCE (1928)
KOO KOO KNIGHTS (1928)
NO KIDDING (1927)
ONCE OVER (1928) (WOR) 
dir/Leslie Goodwins cst/Pollard, Marvin Loback
SNUB BE CAREFUL (1928)
SNUB THE HERO (1928)
SNUB THE PLAYBOY (1928)
SNUB THE SAP (1928)
SNUB’S SURPRISE (1928)
SOCK AND RUN (1928)(WOR)
SPRINGTIME SAPS (1929)
THICK AND THIN (1929)(WOR)
UNDER REPAIRS (1928)
THE YOKEL (1928)
dir/James Davis cst/Pollard, Marie Mosquini
“WINNIE WINKLE COMEDIES”
2-reels; 1926-28; W.T. Lackey Productions; Artclass; Ethelyn Gibson as “Winnie Winkle”
ALWAYS LATE (1926)
FLIRTING WINNIE (1927)
HAPPY DAYS (1926)
aka “Winnie the Breadwinner” aka “Happy Daze” dir/Arvid E. Gillstrom
OH! WINNIE BEHAVE (1926)
aka “Winnie Behave”
WEARY WINNIE (1927)
WINNIE AND THE RINKY DINKS (1928)
WINNIE BE GOOD (1927)
WINNIE STEPS OUT (1927)
WINNIE WAKES UP (1927)
WINNIE’S BIRTHDAY (1927)
WINNIE’S VACATION (1926)
WINNIE’S WINNING WAYS (1927)
WINNING WINNIE (1928)
WORKING WINNIE (1927)
dir/Edward Ludwig
WORRY WINNIE (1926)
1926-27
“IZZIE AND LIZZIE COMEDIES”
2-reels; 1926-27; W.T. Lackey Productions; Artclass
AIN’T WE GOT FUN? (1927)
FIGHTING FOOLS (1926)
LOVE YOUR NEIGHBOR (1926) 
HAM AND HERRING (1927)
MONKEY BUSINESS (1927)
MOVIE MANIA (1928)
NICE NEIGHBORS (1927)
NIZE PEOPLE (1926)
OFF AND ON (1926)
PAPA’S PEST (1926)
STRICTLY KOSHER (1926)
WHY PAY RENT? (1926)
“HAIRBREADTH HARRY COMEDIES”
2-reels; 1926-27; Artclass; Artclass; Earl McCarthy as “Hairbreadth Harry”
CURSES (1927)
Director:  Al Herman
DANGER AHEAD (1926)*
dir/Percy Pembroke; McCarthy, Charlotte Merriam, Jack Cooper, Max Asher
DIRTY WORK
FEARLESS HARRY (1927)(WOR)
Director: Al Herman
FLYING PAPERS (1926)
Director: Al Herman
FOILED (1926)
MOONSHINE AND NOSES (1927)
NUTTY BUT NICE (1927)
RUDOLPH’S REVENGE (1928)(WOR)
SAWDUST BABY (1926)
Director: Al Herman
SIGN THEM PAPERS! (1926)(WOR)
dir/Edward Ludwig, as Edward I. Luddy
THE VILLAIN (1927)
“RADIO PERSONALITIES”
2-reels;1926-27; Artclass; Artclass
RADIO PERSONALITIES VOL. A
RADIO PERSONALITIES VOL. B 
RADIO PERSONALITIES VOL. C 
1926
 
“SCANDAL OF AMERICA”
1-reel; 1926; Artclass; Artclass
IT CAN HAPPEN TO YOU
NIGHT PROWLER, THE
PAYROLL HOLD-UP
THE STICK-UP MAN
UNEXPECTED VISITOR
WHO IS SAFE?*(WOR)
“SCREEN STAR SPORTS” 
1-reel; 1926; Artclass; Artclass
SCREEN STAR SPORTS VOL. A
SCREEN STAR SPORTS VOL. B
SCREEN STAR SPORTS VOL. C
SCREEN STAR SPORTS VOL. D
SCREEN STAR SPORTS VOL. E
SCREEN STAR SPORTS VOL. F
1925
“GUESS WHO?”
1-reel; 1926; Artclass; Artclass
GUESS WHO? #1
GUESS WHO? #2
GUESS WHO? #3
GUESS WHO? #4
GUESS WHO? #5
GUESS WHO? #6
1923
“TENSE MOMENTS FROM FAMOUS PLAYS”
1-reel; 1923; prod. in 1922; Master Films (UK); Artclass
BLEAK HOUSE
dir/H.B. Parkinson cst/Sybil Thorndike, Betty Doyle, Stacey Gaunt
THE HUNCHBACK OF NOTRE DAME(WOR)
Original title: “Esmeralda” dir/Edwin J. Collins cst/Sybil Thorndike, Booth Conway, Arthur Kingsley
JANE SHORE
dir/Edwin J. Collins cst/Sybil Thorndike
LADY OF THE CAMELLIAS
dir/Edwin J. Collins cst/Sybil Thorndike
THE MERCHANT OF VENICE
dir/Challis Sanderson cst/Sybil Thorndike, Ivan Berlin,  R. McLeod
MACBETH
dir/H.B. Parkinson cst/Russell Thorndike, Sybil Thorndike
The following set was titled  in the U.K. as “Tense Moments with Great Authors”
DAVID GARRICK
cst/Milton Rosmer
EAST LYNNE
cst/Iris Hoey
THE LAST HOURS OF FAGIN
aka “Hours of Fagin”; original title: “Fagin” dir/H. B. Parkinson cst/Ivan Berlin
LES MISERABLES 
dir/H.B. Parkinson cst/Phyllis Neilson Terry, Charles Garry, Lyn Harding, Hilda Moore 
MOTHS 
cst/Cameron Carr
NANCY 
dir/H. B. Parkinson cst/Ivan Berlin
SAPHO
Hilda Moore
THE SCARLET LETTER 
dir/Challis Sanderson cst/Sybil Thorndike, Tony Fraser, Dick Webb, Rice Cassidy
SCROOGE
H.V. Esmond
A TALE OF TWO CITIES
VANITY FAIR
1922
SAWING A LADY IN HALF
aka “Sawing a Lady in Half – Exposed” aka “Sawing a Lady in Half, How it is Done”
prod/dir/cst/John C. Coutts; Clarion
“THE HOLY BIBLE IN MOTION PICTURES”
Excerpts from “La Bibbia” Italy; 1920
1-reel; 1922; only released non-theatrically
Subsequently released in 1924 as: “The Holy Bible (Old Testament Series)”
ABRAHAM AND ISAAC 
ABRAHAM AND SARAI
CAIN AND ABEL 
CREATION, THE 
END OF THE DELUGE 
EXODUS AND RED SEA MIRACLE 
IMPRISONMENT OF JOSEPH 
ISAAC AND REBECCA 
ISRAELITES IN EGYPT 
ISRAELITES IN WILDERNESS 
JACOB AND ESAU 
JACOB AND JOSEPH 
JACOB AND RACHEL 
JOSEPH AND HIS BROTHERS
JOSEPH AS GOVERNOR 
LAW REPEATED AND DEATH OF MOSES 
MOSES
MOUNT SINAI AND THE TEN COMMANDMENTS*
NAOMI AND RUTH 
NOAH
THE PASSOVER
THE PEACEMAKING
PLAGUES OF EGYPT 
REHABILITATION OF JOSEPH 
RUTH AND BOAZ 
SELLING OF JOSEPH
SODOM AND GOMORRAH
SOLOMON IN ALL HIS GLORY
TOWER OF BABEL, THE
WISDOM OF SOLOMON
* © 1924; only title in the series to be copyrighted
“EPIC OF THE AGES”
Condensed version of “The Holy Bible in Motion Pictures”
2-reels; track added around 1930; 
CHAPTER 1
The Creation/Cain and Abel/Noah
CHAPTER 2
End of the Deluge/Tower of Babel/Abraham and Sarai
CHAPTER 3
Sodom and Gomorrah/Abraham and Isaac/Isaac and Rebecca
CHAPTER 4
Jacob and Esau/Jacob and Rachel/Jacob and Joseph
CHAPTER 5
Selling of Joseph/Imprisonment of Joseph/Rehabilitation of Joseph
CHAPTER 6
Joseph as Governor/Joseph and His Brothers/Peacemaking
CHAPTER 7
Israelites in Egypt/Moses and the Burning Bush/Plagues of Egypt
CHAPTER 8
Passover/Exodus and Red Sea Miracle/Israelites in Wilderness
CHAPTER 9
Mt. Sinai and the10 Commandments/Law Repeated and Death of Moses/Naomi & Ruth
CHAPTER 10
Ruth and Boaz/Wisdom of Solomon/Solomon in all his Glory
1916
“LILLIPUTIAN COMEDIES”
No information othan than Louis Weiss confirmed they were in fact produced(WOR) —
*****State’s Rights Exchanges:

The Weiss Bros. distributed their pictures on a State’s Rights basis (see previous posts), but apparently at one time had at least one film exchange of their own.  On occasion they acquired rights only for the limited territories served by their exchange, or exchanges. 

*****

Please send any corrections or comments to kit@kitparker.com, or post under “Comments.”  I’d particularly appreciate any help with the following questions:

 “Lilliputian Comedies” ca.1916 comedy shorts — Does anyone have any information on these films?

“It May Be Your Daughter” 1916 feature — Director’s name?

“Mount Sinai and the Ten Commandments,” Episode 25 of “The Holy Bible in Motion Pictures” (1922)- This was the only episode Artclass copyrighted; why was it copyrighted in 1924, two years after its previous release, and why did they risk another battle with Paramount by adding “…The Ten Commandments” to the end of title?  [See previous blog]

“Ten After Ten” 1924 feature – Additional cast members?

“Tangled Herds” 1926 feature – Additional cast members?

“Ridin’ Rivals” 1926 feature – Additional cast members?

“A Short Tail” 1927 2-reel short – Why did Artclass own this Paramount short?

“J.” Tansey: – Was this Robert, or another, Tansey?

Various Short Subjects – Additional director and cast credits?

****

Sources:  Bob Dickson, Margaret Herrick Library, American Film Institute, IMDb, Kit Parker Collection, Margaret Herrick Library (AMPAS), Richard Roberts, U.S. Copyright Office, New York State Archives, Internet Archive; various issues of: Exhibitor’s Herald, International Motion Picture Almanac, Moving Picture World, Film Daily Yearbook 

——-

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Weiss Bros. Westerns available on DVD from VCI Entertainment:

Bob Steele 4-pack
Bob Steele Western Double Feature   Vol. 3
Bob Steele Western Double  Feature Vol. 5
Bob Steele Western Double  Feature Vol. 6
Bob Steele Western Double  Feature Vol. 9
Bob Steele Western Double  Feature Vol. 10
Buddy Roosevelt   Western Double Feature
Harry Carry Western Double  Feature Vol. 1
Harry Carry Western Double  Feature Vol. 2
Harry Carry Western Double  Feature Vol. 3
Johnny Mack Brown Western 4-Pack
Johnny Mack Brown Western  Double Feature Vol. 4
Johnny Mack Brown Western  Double Feature Vol. 6
Johnny Mack Brown Western  Double Feature Vol. 16
Rex Lease Western Double  Feature Vol. 1
Western Heroes Western Double Feature Vol. 1
Western Heroes Western Double Feature Vol. 2
Western Heroes Western Double Feature Vol. 7
Bob Steele Western Double Feature Vol. 1
Bob Steele Western Double Feature Vol. 8
Bob Steele Western Double Feature Vol. 12

© 2012 Kit Parker Films

Who produced or co-produced almost 250 feature films and is virtually unknown today?

That man is Robert L. Lippert (1909-1976), who did just that in 25 years, from 1945-1969.

Between 1945-1956 he also distributed more than 100 of his own productions (most of which are owned by my company, Kit Parker Holdings, LLC) and another 100 films produced by others.

Compiling this filmography more difficult because some Lippert films made after 1959 were not credited to any of his production companies.

Titles in bold are Lippert productions or co-productions.  The rest were produced by others and only distributed by Lippert.

Key: R: Reissue, D: Distributor only, TV: Independent production purchased outright by Lippert expressly for use on television.

Distributors: LP: Lippert Pictures, SG: Screen Guild Productions (subsequently known as  Lippert Pictures), RS:  RegalScope (Regal Films), API: Associated Producers, Inc., Fox: 20th Century-Fox, ARC: American Releasing (later known as AIP, American International Pictures), WB: Warner Bros. RS and API are Lippert production companies financed by Fox.

“Hammer”:  Lippert Pictures-Exclusive Films/Hammer Films co-productions

Italicized titles are owned by Kit Parker Films and available on DVD from http://www.sprocketvault.com

 

  • 13 FIGHTING MEN (1960) API-Fox
  • 20,000 EYES (1961) API-Fox
  • ABDUCTORS, THE (1957) RS-Fox
  • ABOMINABLE SNOWMAN, THE (1957) Buzz Productions/Hammer, Fox
  • ACTORS AND SIN (1952) Limited TV distribution rights only, LP-D
  • AIR PATROL (1962) API-Fox
  • AIR STRIKE  (1955) LP
  • ALASKA PASSAGE (1959) API-Fox
  • ALI BABA NIGHTS (R-1953) UK: Chu Chin Chow, 1934, LP-D
  • ALLIGATOR PEOPLE, THE (1959) API-Fox
  • AMBUSH AT CIMARRON PASS (1958) RS-Fox
  • APACHE CHIEF (1950) LP
  • APACHE WARRIOR (1957) RS-Fox
  • ARSON, INC. (1950) LP
  • AS YOU WERE (1951) LP
  • BACHELOR IN PARIS (1952) UK: Song of Paris, LP-D
  • BACK DOOR TO HELL (1964) US-Philippines, Fox
  • BACK FROM THE DEAD (1957) RS-Fox
  • BAD BLONDE (1953) UK: Flanagan Boy, Hammer, LP
  • BADLANDS OF MONTANA (1957) RS-Fox
  • BANDIT ISLAND (1953) 3-D Short Subject, LP
  • BANDIT QUEEN, THE (1950) LP
  • BAR 20 JUSTICE (R-1947) 1938, SG-D
  • BARON OF ARIZONA, THE (1950) LP  (DVD: Criterion Collection) *
  • BATTLE AT BLOODY BEACH, THE (1961) Fox
  • BELLS OF SAN FERNANDO (1947) SG
  • BIG CHASE, THE (1954) LP
  • BIG SHOW, THE (1961) API-Fox
  • BLACK GLOVE, THE (1954) UK: Face the Music, Hammer, LP
  • BLACK PIRATES, THE (1954) US-Mexico, LP
  • BLACK WHIP, THE (1956) RS-Fox
  • BLACKOUT (1954) UK: Murder by Proxy, Hammer, LP
  • BLOOD AND STEEL (1959) API-Fox
  • BLOOD ARROW (1958) RS-Fox
  • BORDER RANGERS (1950) LP
  • BORDER VIGILANTES (R-1946) 1941, SG-D
  • BORDERLAND (R-1946) 1937, SG-D
  • BOY! WHAT A GIRL! (1947) SG-D
  • BROKEN LAND (1962) API-Fox
  • BUFFALOBILL RIDES AGAIN (1947) SG-D
  • BURNING CROSS, THE (1947) SG-D
  • BUSH PILOT (1947) SG-D
  • CABINET OF CALIGARI (1962) LP-Fox
  • CALL IT MURDER (R-1947) Orig.: Midnight, 1934, SG-D
  • CALL OF THE FOREST(1949) LP-D
  • CAPTAIN KIDD (R-1952) 1945, LP-D
  • CASE OF THE BABY SITTER (1947) Featurette, SG
  • CASSIDY OF BAR 20 (R-1947) 1938, SG-D
  • CATTLE EMPIRE (1958) Fox
  • CHINA GATE (1957) Fox
  • COLLEGE CAPERS (1953) 3D short subject, LP
  • COLORADO RANGER – TV: Guns of Justice (1950) LP
  • COME BE MY VICTIM, half-hour TV abridgement of Danger Zone (1951), LP
  • CONVICTS AT LARGE (1938) LP-TV
  • COPPER SKY (1957) RS-Fox
  • COWBOY, THE (1954) LP
  • CREEPING UNKNOWN, THE (1965) UK: Quatermass Xperiment, Hammer, UA
  • CROOKED RIVER – TV: The Last Bullet (1950) LP
  • CURIOUS ADVENTURES OF MR. WONDERBIRD, THE (1953) France: Bergère et le ramoneur, 1952, Dubbed, LP-D
  • CURSE OF THE FLY (1965) Fox
  • DALTON GANG, THE (1949) LP
  • DANGER ZONE (1951) LP
  • DAY IN THE COUNTRY, A (1953) 3-D short subject filmed in 1941 as Stereo-Laffs, LP-D
  • DAY MARS INVADED EARTH, THE (1963) API-Fox
  • DEADLY GAME, THE (1954) UK, Third Party Risk, Hammer, LP
  • DEATH VALLEY (1947) SG
  • DEERSLAYER, THE (1958) Fox
  • DEPUTY MARSHAL (1949) LP
  • DESERT HELL (1958) RS-Fox
  • DESIRE IN THE DUST (1960) Fox
  • DESPERADOES ARE IN TOWN, THE (1956) RS-Fox
  • DOG OF FLANDERS, A (1959) Fox
  • DRAGON OF DEATH, half-hour TV abridgement of Mask of the Dragon (1951), LP
  • EARTH DIES SCREAMING, THE (1964) UK, Fox
  • ENEMY FROM SPACE (1957) UK, Quatermass 2, UA
  • ESCAPE FROM RED ROCK (1957) RS-Fox
  • EVERYBODY’S DANCIN’ (1950) LP
  • FAMILY AFFAIR (1956) UK: Life with the Lyons, 1954, LP-D
  • FANGS OF THE WILD aka Follow the Hunter (1954) LP
  • FAST ON THE DRAW – TV: Sudden Death (1950) LP
  • FBI GIRL (1951) LP
  • FELICIA (1964) API-Fox
  • FINGERPRINTS DON’T LIE (1951) LP
  • FINGERPRINTS, half-hour TV abridgement of Fingerprints Don’t Lie (1951), LP
  • FIRE ALARM (1932) Orig.: Flames  LP-TV
  • FIREBRAND, THE (1962) API-Fox
  • FIVE GATES TO HELL (1959) Fox
  • FLAMING FRONTIER  (1958) Canada, Fox
  • FLESH AND LEATHER, half-hour TV abridgement of Stop That Cab (1951), LP
  • FLIGHT TO FURY (1964) US-Philippines, Feature Film Corp. of America
  • FLIGHT TO NOWHERE (1947) SG
  • FLY, THE (1958)
  • FORTUNE IN DIAMONDS, A (1951)UK: The Adventurers, LP-D
  • FORTY GUNS (1957) Fox
  • FRANCIS OF ASSISI (1961) API provided guided only, Fox
  • FRECKLES (1960) API-Fox
  • FRONTIER GAMBLER (1956) ARC
  • FRONTIER GUN (1958) RS-Fox
  • FRONTIERSMEN, THE (R-1947) 1938, SG-D
  • FROZEN ALIVE (1964) Germany: Der Fall X701, Feature Films of America
  • G.I. JANE (1951) LP
  • GAMBLER AND THE LADY (1952) UK, Hammer, LP
  • GANG WAR (1958) RS-Fox
  • GHOST DIVER (1957) RS-Fox
  • GHOST SHIP (1952) UK, 1951, LP-D
  • GIRL FROM CALGARY, THE (1932)  LP-TV
  • GLASS TOMB, THE (1955) UK: The Glass Cage, Hammer, LP
  • GOD IS MY PARTNER (1957) RS-Fox
  • GOD’S COUNTRY (1947) SG
  • GRAND CANYON (1949) LP
  • GREAT JESSE JAMES RAID, THE (1953) LP
  • GREAT WHITE HUNTER, THE (R-1953) Orig.: The Macomber Affair,1947, LP-D
  • GUNFIRE (1950) LP
  • HAND OF DEATH , THE (1962) API-Fox
  • HARBOR LIGHTS (1963) API-Fox
  • HARPOON (1948) SG-D
  • HAT BOX MYSTERY, THE (1947) Featurette, SG
  • HEART OFARIZONA(R-1948) 1938, SG-D
  • HEAT WAVE (1954) UK, House Across the Lake, Hammer, LP
  • HELL HARBOR(1930)  LP-TV
  • HELL ON DEVIL’S ISLAND (1957) RS-Fox
  • HELLGATE (1952) LP-D
  • HER ENLISTED MAN (R-1935) Orig.: Red Salute,1935, SG-D
  • HERE COME THE JETS (1959) API-Fox
  • HIDDEN GOLD (R-1948) SG-D
  • HIGH POWERED RIFLE, THE (1960) Fox
  • HIGHWAY 13 (1948) SG
  • HI-JACKED (1950) LP
  • HILLS OF OLDWYOMING(R-1946) 1937, SG-D
  • HOLIDAY RHYTHM (1950) LP
  • HOLLYWOODBARN DANCE (1947) SG-D
  • HOLLYWOODTHRILL-MAKERS (1954) LP-D
  • HOLLYWOOD VARIETIES (1950) LP
  • HOPALONG CASSIDY ENTERS (R-1946) Orig.: Hop-a-long Cassidy, 1935, SG-D
  • HOPALONG CASSIDY RETURNS (R-1946) 1936, SG-D
  • HOPALONG RIDES AGAIN (R-1946) 1937, SG-D
  • HORROR OF IT ALL, THE (1964) UK, Fox
  • HOSTILE COUNTRY – TV: Outlaw Fury (1950) LP
  • HOUSE OF THE DAMNED (1963) API-Fox
  • I SHOT BILLY THE KID (1950) LP
  • I SHOT JESSE JAMES (1949) LP (DVD: Criterion Collection)
  • I’LL GET YOU (1953) UK: Escape Route, LP
  • IN OLD MEXICO(R-1948) 1938, SG-D
  • IRON MASK, THE (R-1953) 1929, Silent, with added sound track, LP-D
  • IT HAPPENED IN ATHENS (1962) Fox
  • JEWELS OF JEOPARDY, half-hour TV abridgement of The Roaring City (1951), LP
  • JOHNNY THE GIANT KILLER (1953) France, Jeannot l’intrépide, Dubbed, LP-D
  • JUNGLE GODDESS (1948) SG
  • JUNGLE, THE (1952) LP
  • KENTUCKY JUBILEE (1951) LP
  • KILLER DILL (1947) SG-D
  • KING DINOSAUR (1955) LP
  • KING OF THE TURF (R-1948) 1939, SG-D
  • KRONOS (1957) RS-Fox
  • LAST MAN ON EARTH (1964) Italy-USA, AIP
  • LAST OF THE WILD HORSES, THE  (1948) LP
  • LAST SHOT YOU HEAR (1969) UK, Fox
  • LAW OF THE PAMPAS (R-1948) 1939, SG-D
  • LAW OF THE SEA (1931)  LP-TV
  • LEAVE IT TO THE MARINES (1951) LP
  • LIMPING MAN, THE (1953) UK, LP-D
  • LITTLE BIG HORN (1951) LP
  • LITTLE SAVAGE (1959) US-Mexico, API-Fox
  • LITTLE SHEPERD OF KINGDOM COME (1961) API-Fox
  • LOAN SHARK (1952) LP
  • LONE TEXAN (1959) RS-Fox
  • LONESOME TRAIL, THE (1955) LP
  • LONG FALL, THE, half-hour TV abridgement of Pr 23 (1951), LP
  • LONG ROPE, THE (1961) API-Fox
  • LOST CONTINENT, THE (1951) LP
  • LURE OF THE SWAMP (1957) RS-Fox
  • MAN BAIT (1952) UK: The Last Page, Hammer, LP
  • MAN FROM CAIRO, THE (1953) Italy-UK-USA, Guidance only, LP
  • MARCH OF THE WOODEN SOLDIERS (R-1950) Orig.: Babes in Toyland, 1934, LP-D
  • MARK OF THE LASH (1948) SG-D
  • MARSHAL OF HELDORADO – TV: Blazing Guns (1950) LP
  • MASK OF THE DRAGON (1951) LP
  • MASSACRE (1956) Fox
  • MIRACLE INHARLEM(1948) SG-D
  • MISS ANNIE ROONEY (R-1948) 1942, SG-D
  • MISSING WITNESS, THE, half-hour TV abridgement of Fingerprints Don’t Lie (1951), LP
  • MONSTER FROM THE OCEAN FLOOR (1954) LP-D
  • MORO WITCH DOCTOR (1964) Philippines: Amok, API-Fox
  • MOTOR PATROL (1950) LP
  • MOZART STORY (1948) Germany-Austria: Wen die Gotter lieben, Dubbed, SG-D
  • MR. ROBINSON CRUSOE (R-1953) LP-D
  • MR. WALKIE TALKIE (1952)
  • MURDER GAME (1965) UK, LP-Fox
  • MURDER, INC. (1960) Fox
  • MY DOG SHEP (1947) SG
  • NAVAJO (1952) LP-D
  • NIGHT TRAIN TO PARIS (1964) UK, Fox
  • NORMAN CONQUEST (1953) UK:MarkPlaza605, LP-D
  • NORTH OF THE BORDER (1947) Featurette, SG
  • NORTH OF THERIO GRANDE (R-1946) 1937, SG-D
  • NORTHWEST TRAIL (1945) SG
  • OMOO-OMOO THE SHARK GOD (1949) LP-D
  • ON FOUR WHEELS, half-hour TV abridgement of Stop That Cab (1951), LP
  • OPERATION HAYLIFT (1950) LP
  • OREGON TRAIL (1959) Fox
  • ORIENTAL CLUE, THE half-hour TV abridgement of Mask of the Dragon (1951), LP
  • OUTLAW COUNTRY (1949) SG
  • OUTLAW WOMEN (1952) LP-D
  • OUTLAWS IN THE DESERT (R-1946) 1941, SG-D
  • PAID TO KILL (1954) UK, Five Days, Hammer, LP-D
  • PARTNERS OF THE PLAINS (R-1948) 1938, SG-D
  • PERILS OF THE JUNGLE (1953) LP -D
  • PHANTOM OF THE JUNGLE (1955) LP-D
  • PIER 23 (1951) LP
  • PIER OF PERIL, half-hour TV abridgement of Pier 23 (1951), LP
  • PIRATE SUBMARINE (1952) France: Casabianca,1951, dubbed, LP-D
  • PIRATES ON HORSEBACK (R-1946) 1941, SG
  • PRAIRIE, THE (1947) SG-D
  • PLUNDER ROAD (1957) RS-Fox
  • POLICE COURT (1932)  LP-TV
  • POLICE NURSE (1963) API-Fox
  • PRIDE OF THE WEST (R-1947) 1938, SG-D
  • PROJECT MOON BASE (1953) LP-D
  • PURPLE HILLS, THE (1961) API-Fox
  • QUEEN OF SHEBA, THE (1952) Italy: La Regina di Saba, 1952, Dubbed, LP-D
  • QUEEN OF THE AMAZONS (1947) SG
  • QUIET GUN, THE (1957) RS-Fox
  • RACE FOR LIFE (1954) UK: Mask of Dust, Hammer, LP
  • RACKETEERS (R-1948) Orig.: People’s Enemy, 1935, SG-D
  • RADAR SECRET SERVICE (1950) LP
  • RAIDERS FROM BENEATH THE SEA (1964) Fox
  • RANGE WAR (R-1948) 1938, SG-D
  • RED DESERT (1949) LP
  • RENEGADE GIRL (1947) SG
  • RENEGADE TRAIL (R-1948) 1939, SG-D
  • RETURN OF GILBERT AND SULLIVAN, THE (1952) (Short Subject)UK, LP-D
  • RETURN OF JESSE JAMES, THE (1950) LP
  • RETURN OF MR. MOTO (1965) UK, Fox
  • RETURN OF THE FLY (1959) API-Fox
  • RETURN OF WILDFIRE, THE (1948) SG
  • RIDE A VIOLENT MILE (1957) RS-Fox
  • RIDERS OF THE TIMBERLINE (R-1946) 1941, SG-D
  • RIMFIRE (1948) LP
  • RINGSIDE (1949) LP
  • RIVER BEAT (1954) UK, LP
  • ROAD TO THE BIG HOUSE (1947) SG-D
  • ROARING CITY (1951) LP
  • ROCKABILLY BABY (1957) RS-Fox
  • ROCKETSHIP X-M (1950) LP
  • ROLLING HOME (1947) SG
  • ROOKIE, THE (1959) (oversaw production) Fox
  • RUSTLER’S VALLEY (R-1946) 1937, SG-D
  • S.O.S. SUBMARINE (1948) Italy: Uomini sui fondo, 1941, Dubbed, SG-D
  • SAD HORSE, THE (1959) API-Fox
  • SANTA FE MARSHAL (R-1948) 1940, SG-D
  • SAVAGE DRUMS (1951) LP
  • SCARED TO DEATH (1947) SG
  • SCOTLAND YARD INSPECTOR (1952) UK: Lady in the Fog, Hammer, LP
  • SECRET OF THE PURPLE REEF, THE (1960) API-Fox
  • SECRET OF THE WASTELANDS (R-1946) 1941, SG-D
  • SECRET PEOPLE, THE (1952)UK, LP-D
  • SEPIA CINDERELLA (1947) SG-D
  • SEVEN WOMEN FROM HELL (1961) API-Fox
  • SHADOW MAN, THE (1953) UK: Street of Shadows, Hammer, LP
  • SHE DEVIL (1957) RS-Fox
  • SHEP COMES HOME (1948)
  • SHOOT TO KILL (1947) SG-D
  • SHOWDOWN AT BOOT HILL (1958) RS-Fox
  • SHOWDOWN AT SUNUP (1949) Short subject, LP
  • SIEGE, THE (1954)Spain, 1950, Agustina de Aragón, 1950, dubbed, LP-D
  • SIERRA BARON (1958) Fox
  • SILENT CALL, THE (1961) API-Fox
  • SILENT RAIDERS (1954) LP-D
  • SILVER ON THE SAGE (R-1947) 1939, SG-D
  • SILVER STAR (1955) LP
  • SIMBA (1955) LP-D
  • SINS OF JEZEBEL (1953) LP
  • SISTERS IN CRIME, half-hour TV abridgement of The Roaring City  (1951), LP
  • SKY HIGH (1951) LP
  • SKY LINER (1949) LP
  • SLASHER, THE (1953) UK: Cosh Boy, LP-D
  • SLIGHTLY DANGEROUS (1950)UK, LP-D
  • SNIPER’S RIDGE (1961) API-Fox
  • SON OF A BADMAN (1949) LP-D
  • SON OF BILLY THE KID (1948) LP-D
  • SON OF ROBIN HOOD (1958) Fox
  • SPACE MASTER X-7 (1958) RS-Fox
  • SPACEWAYS (1953) UK, Hammer, LP
  • SQUARE DANCE JUBILEE (1949) LP
  • STAGECOACH TO FURY (1956) RS/Fox
  • STAGECOACH WAR (R-1948) 1940, SG-D
  • STEEL HELMET, THE (1951) LP (DVD: Criterion Collection)
  • STICK TO YOUR GUNS (R-1946) 1941, SG-D
  • STOLEN FACE (1952) UK, Hammer, LP
  • STOP THAT CAB (1951) LP
  • STORM RIDER, THE (1957) RS-Fox
  • STREET IS MY BEAT, half-hour TV abridgement of Stop That Cab (1951), L
  • STRONGHOLD (1952) Mexico-USA co-production, LP-D
  • SUNSET TRAIL (R-1947) 1939, SG-D
  • SUPERMAN AND THE MOLE-MEN (1952) LP
  • SURF PARTY (1964) API-Fox
  • SWINGIN’ ALONG aka Double Trouble aka Johnny One Note (1961) Fox
  • TALES OF ROBIN HOOD (1951) LP
  • TALL LIE aka For Men Only (1952) LP
  • TALL TEXAN, THE (1953) LP
  • TERROR SHIP (1954)UK: Dangerous Voyage, LP-D
  • TERROR STREET (1953) UK: 36 Hours, Hammer, LP
  • TESS OF THE STORM COUNTRY (1960) Fox
  • TEXAS TRAIL (R-1947) 1937, SG-D
  • THAT TENNESSE BEAT (1966) Fox
  • THAT’S MY BOY aka Forbidden Music (R-1948)UK: Land Without Music, 1936, LP-D
  • THERE IS NO ESCAPE (1948) SG-D
  • THEY WERE SO YOUNG (1954) W. Germany-USA, LP
  • THIRD VOICE, THE (1960) Fox
  • THREE DESPERATE MEN (1951) LP
  • THREE MEN FROM TEXAS(R-1946) 1940, SG-D
  • THUNDER IN THE PINES (1948) SG
  • THUNDER ISLAND (1963) API-Fox
  • THUNDER OVER SANGOLAND (1955) LP-D
  • THUNDER PASS (1954) LP
  • THUNDERING JETS (1958) RS-Fox
  • TOUGH ASSIGNMENT (1949) LP
  • TRAIL DUST (R-1946) 1936, SG-D
  • TRAIL OF THE MOUNTIES (1947) Featurette, SG
  • TRAIN TO TOMBSTONE (1950) LP
  • TREASURE OF MONTE CRISTO (1949) LP
  • TROMBA: THE TIGERMAN (1952)Germany: Tromba, 1949, Dubbed, LP-D
  • TWELVE HOURS TO KILL (1960) API-Fox
  • TWILIGHT ON THE TRAIL (R-1946) 1941, SG-D
  • TWILIGHT WOMEN (1953) UK: Women of Twilight, TV title: Another Chance, LP-D
  • TWO LITTLE BEARS (1961) Fox
  • UNDER FIRE (1957) RS-Fox
  • UNDERCOVER AGENT (1953)UK: Counterspy, LP-D
  • UNHOLY FOUR, THE (1954) UK: The Stranger Came Home, Hammer, LP
  • UNKNOWN TERROR, THE (1957) RS-Fox
  • UNKNOWN WORLD (1951) LP-D
  • VALLEY OF THE EAGLES (1951)UK:ValleyofEagles, LP-D
  • VALLEY OF THE REDWOODS (1960) API-Fox
  • VARIETIES ON PARADE (1951) LP
  • VILLA (1958) Fox
  • WALK A TIGHTROPE (1964) US-UK, API-Paramount
  • WALK TALL (1960) API-Fox
  • WAYNE MURDER CASE, THE (1932) Orig.: A Strange Adventure  LP-TV
  • WE WANT A CHILD! (1954)Denmark: Viv vil ha’ et bam, Dubbed, LP-D
  • WEST OF THE BRAZOS (1950) LP
  • WESTERN PACIFIC AGENT (1950) LP
  • WHERE THE NORTH BEGINS (1947) Featurette, SG
  • WHITE FIRE (1954)UK: Three Steps to the Gallows, 1953, LP-D
  • WHITE GODDESS (1953) LP-D
  • WHITE PHANTOM (1949) Short subject, LP
  • WIDE OPEN TOWN(R-1946) 1941, SG-D
  • WILD ON THE BEACH (1965) Fox
  • WILDFIRE (1945) SG
  • WINGS OF DANGER (1952) UK; Dead on Course, Hammer, LP
  • WITCHCRAFT (1964) UK, Fox
  • WOLF DOG (1958) RS-Fox
  • WOMAN WHO WOULDN’T DIE, THE (1965) UK, WB
  • WOMANHUNT aka WOMAN HUNT (1962) API-Fox
  • WOMEN OF PITCAIRN ISLAND, THE (1956) RS-Fox
  • YELLOW CANARY, THE (1963) Fox
  • YES SIR, MR. BONES! (1951) LP
  • YOUNG AND DANGEROUS (1957) RS-Fox
  • YOUNG GUNS OF TEXAS (1962) API-Fox
  • YOUNG JESSE JAMES (1960) API-Fox
  • YOUNG SWINGERS, THE (1963) API-Fox

Sources:  Motion Picture Herald, Film Daily Yearbook,U.S. Copyright Office, Maury Dexter, Robert L. Lippert, Jr. and the Kit Parker Films-Lippert Collection at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences.

Visit our website to order DVDs from the Kit Parker Films Collection –

www.sprocketvault.com

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