Posts Tagged ‘“Yesterday and Today”’
“An announcement to the trade that will prove a big surprise to the trades will be made next week” – Not!
In 1922 the Weiss Brothers purchased U.S. rights to a rather uninspired 52-reel Italian epic, “La Bibbia” (Appia Nuova/1920), supposedly filmed in Egypt and Palestine. Artclass already had it in circulation through National Non-Theatrical Pictures, Inc., as “The Holy Bible in Motion Pictures,” in 30 separate reels, each telling a specific Biblical story, serialized to schools and churches on a one-per-week basis.
Artclass cut it down to 11 reels and re-titled it “After Six Days,” accompanied with an elaborate ad campaign touting, “A Weiss Production” and “A $3,000,000 entertainment for the hundred millions.” Although it was technically crude, Louis said he had “proof” it cost at least $1 million!
The release plan was to play at distinguished legit houses which offered stage presentations, as well as road show films. Six weeks went by as they attempted to secure a Broadway booking, including bids for The Astor, Metropolitan Opera House, Gayety, Cohan and Harris, and others. When they weren’t able to clear a date, it was decided to premier at English’s Opera House in Indianapolis on October 22, 1922, which was still a plum engagement considering the theatre had only allowed two previous motion pictures to be shown, D. W. Griffith’s “The Birth of a Nation” (Epoch/1915), and “Way Down East” (U.A./1920). Dates followed in Minneapolis, Cleveland and Detroit.
“After Six Days” wasn’t exhibited in New York City until December 15, 1922, at the Columbia University School of Journalism in New York. Some of the bookings that followed were the Woods, Atlantic City; Premier Theatre, Brooklyn; St. Denis Theatre, Montreal; and Ocean Grove Auditorium, Ocean Grove (N.J.) and Boston’s Tremont Temple.
Adam and Eve sequence from “After Six Days” (1922)
But there was trouble the next year. Famous Players-Lasky accused Artclass of expanding the title to “After Six Days, Featuring Moses and the Ten Commandments,” in order to unfairly capitalize on Cecil B. DeMille version of “The Ten Commandments” (Paramount/1923), a claim supported by the “National Vigilance Committee,” who asserted the title confused the public. The Brothers vehemently denied the charges, but went ahead and removed all reference to the offending part of the title, holding steadfast for years afterwards that they gave in on the lawsuit because they couldn’t afford a legal battle with a major studio.
“The History of the Bible in Motion Pictures” single reel versions continued playing non-theatrically through the 1920s. Also, in the late 1940s Adrian announced a ten-part series of two-reel 16mm sound versions under the series title, “The Epic of the Ages,” although I can find no record that they were ever actually produced. “After Six Days” proved to be an evergreen for Artclass, and was reissued in the early 1930s in a 7-reel sound (music, narration and effects) version, and in the mid-1940s, Adrian Weiss, prepared a hokey trailer in the hope of reissuing it theatrically as “An Adrian Weiss Production,” but wisely abandoned the idea.
The next Artclass release was a jungle drama, “The Woman Who Believed” (Artclass/1922). Then, controversy and legal problems rose again, this time revolving around a two-reel short, “Sawing a Lady in Half” (Clarion/1922), [aka “Sawing a Lady in Half, How It is Done,” and “Sawing a Lady in Half – Exposed,” to satisfy censorship issues in certain states] wherein magician John Coutts exposed the illusion made famous by magician Horace Goldin, whose name was synonymous with the act. Goldin had previously obtained an injunction against another magician who performed the illusion, so Coutts modified the performance somewhat.
Goldin filed a suit anyway, claiming the movie violated, among other things, the copyright to a filmed version he supposedly deposited at the Copyright Office in 1921 [I could not find a record of any such deposit], and exhibition of the Coutt film seriously jeopardized his contract with the Keith Circuit (which was true) where he had been a consistent big draw for some time. However, the Weiss’ lawyer successfully argued that Goldin didn’t originate the act, even arguing that the basis of the illusion could be traced back as far as 3766 B.C. Egypt, which the magic community found absurd.
However, Goldin won on appeal to the Supreme Court of New York where it was ruled that the earlier so-called comparable acts submitted by Clarion’s lawyer had little or no relationship to Goldin’s illusion, and the title of the film was an obvious attempt to capitalize on Goldin’s act, and must be changed. This is still considered a landmark case with respect to intellectual rights to magic methods. (In 1923 Goldin deposited a patent application for the specific device used in the illusion, that he later regretted because the illusion became part of the public record.)
Alfred Weiss (no relation) started his motion picture career in 1904, and by 1922 he was long an acknowledged VIP in the industry. He knew the Weiss Bros. since at least 1921, when Goldwyn Pictures, to which Alfred was one of the founders, purchased Artclass’ “The Revenge of Tarzan.”
In November 1922 he announced his departure from Goldwyn to become the new President and General Manager of Artclass. Alfred proclaimed that a slate of “high class” productions and four “big special productions” would be released annually through national distributors.
“Der müd Tod” / “Between Worlds” (1922)
The first was to be “Between Worlds” an “entirely different…great spectacle,” which turned out to be Fritz Lang’s German “Der müd Tod” aka “Destiny” (Decla-Bioscope/1921). It had everything going against it; “arty,” no star power, produced in a country the U.S. still bitterly resented, and released by a States Rights distributor. Nonetheless, it opened at the prestigious 4,000 seat Capitol Theatre in New York City, clearly a result of Alfred’s clout. The film was reissued by Artclass in 1928 as “Between Two Worlds.”
Alfred’s boast that “…a big surprise to the trades will be made next week,” never came to be, and I can find no evidence he had any involvement with the Weiss Brothers other than the one film.
Between 1924 and 1926, Artclass released almost 50 five-reel westerns. Most were produced by Lester F. Scott, Jr.’s Action Pictures, and many starred “Buffalo Bill, Jr.” (Bill Drake) (Years later Louis Weiss purchased the name and character “Buffalo Bill, Jr.”), Wally Wales (Hal Taliaferro) and Buddy Roosevelt, with future star, Jean Arthur, often playing the romantic interest. In 1979 I asked her about appearing in those westerns, and she quickly changed the subject.
“Grimm’s Fairy Tales” (1927)
They began producing their own series of one-reel shorts; “Guess Who” (1925), “The Scandal of America” (1926), “Screen Star Sports” (1926), “Radio Personalities” (1926-7), “Embarrassing Moments” (1928), and “Grimm’s Fairy Tales” (1927), which were three-reelers.
Poodles Hanneford in “Circus Daze” (1927)
The most successful Artclass short subjects was a slate of ten separate slapstick comedy series produced between 1926-28; “Ben Turpin Comedies” and “Snub Pollard Comedies,” starring silent comedy stalwarts who by then were past their prime; low-profile comics, “Poodles Hanneford Comedies” and “Jimmy Aubrey Comedies”; and six other series, “Hairbreadth Harry Comedies,” “Winnie Winkle Comedies,” “Izzie and Lizzie Comedies,” “Crackerjack Comedies,” “Lucky Strikes Comedies” and “Barnyard Animal Comedies” comedies. Calling them “Comedies” may have been a stretch for the majority, but many are quite good. Historian and silent comedy expert, Richard M. Roberts, cherry-picked the very best, and they are featured in the DVD collection, “Weiss-O-Rama”…in razor sharp prints with new piano scores and in depth commentaries.
Three ten-episode serials, “Perils of the Jungle” (1927), “Police Reporter” (1928) and “The Mysterious Airman” (1928), completed the Artclass release schedule for the silent era.
A complete Weiss Bros. silent-era filmography appears in the next blog.
American Film Institute, Exhibitor’s Herald 6/24/22, IMDb, Kit Parker Collection/Margaret Herrick Library, AMPAS, Moving Picture World 10/7/22; 10/14/22; 11/11/22, New York State Archives, New York Supreme Court, New York Times 5/14/24, Martin Weiss, Steve Weiss, U.S. Copyright Office
Special thanks to Bob Dickson, Margaret Herrick Library, AMPAS
Weiss Bros. – Artclass Pictures on DVD –
“After Six Days” (Artclass/1922) and “Yesterday and Today” (UA/1953) http://store.vcientertainment.com/product/after_six_days/640
“Weiss-o-Rama” Weiss Bros. comedy shorts from the original negatives http://store.vcientertainment.com/product/weiss-o-rama/521
Adrian Weiss’ “Bride and the Beast” (Allied Artists/1958), and Louis’ Weiss’ “The White Gorilla” (Weiss-Landress/1946); both from the original negatives: http://store.vcientertainment.com/product/white_gorilla/517
Kit Parker Films available on DVD from VCI Entertainment: http://www.kitparker.com/buy.php
KPF Website: www.kitparker.com(c) 2012 Kit Parker Films
I’m getting ready to release a new DVD thru VCI called “Yesterday and Today.”
Two years ago I purchased the Medallion TV Enterprises film library. Some movies were prestigious, others schlock, and still others in-between. (More on Medallion in a later blog) One, “Yesterday and Today,” is an oddity. It’s a silent movie compilation primarily covering the period 1900 – 1910. The excerpts really interesting, well above average, but the identification of them in George Jessel’s voice-over is a mess. The majority are incorrectly identified!
It all started with two 1951 British compilations, Return Fare to Laughter, produced by Henry E. Fisher, compiled by James M. Anderson, and Those Were the Days, produced by Bishu Sen Butcher, and edited by Philip Wrestler, both for Butcher’s Film Service Ltd. Y&T is essentially a combination of these two films, The British producers apparently had access to an excellent library of early films. But, the descriptions? A mess! I got the feeling that some of the films came from mislabeled, or unlabeled, cans with, in some cases, made up titles! Y&T perpetuates these errors, but the good thing is the excerpts are sharp (from 35mm) and long enough to actually enjoy…most I’ve never seen before.
This is the part I really enjoyed:
Richard M. Roberts
As far as I’m concerned, when it comes to identifying the most obscure of silent films, there is Richard M. Roberts, and then all others. I called him into service, but many of these films are so obscure that even he had to call in his fellow film historians. They eventually identified just about every one, sometimes starting with the absolute thinnest of clues. The fruits of their efforts are contained in the supplemental commentary track. Roberts narrates it himself in his usual light-hearted, unpretentious way. In fact, I think I’ll take a break from writing and watch (listen) to it again.
Trivia: The producer was the late talent agent Abner J. (“Abby”) Greschler, who dabbled in the importation of some minor British pictures. Here comes super-trivia; they were: Emergency Call (US: The Hundred Hour Hunt) (1952,) Bombay Waterfront, (1952,) and Life’s a Luxury (US: Caretaker’s Daughter) (1952.) Why did a powerful, and extremely wealthy, agent for Martin and Lewis, Danny Kaye, Al Jolson, Benny Goodman, Eddie Cantor, and Milton Berle (later, Vince Edwards, Marcel Marceau, The Monkees, Jayne Mansfield, and others) bother with some grade B English movies, and also spend time creating a special-interest picture like Yesterday and Today, with the end result being a difficult-to-book 57 minute running time? Tax shelter? Hmmm, maybe I’ll ask Richard…when he’s recovered from this assignment! — Kit Parker