June Mathis — Blue Book of the Screen (1923) 🇺🇸
The author of “The Long, Long Trail” possibly was not acquainted with June Mathis, but she certainly did more “winding” than all the verses indicate before she reached her pinnacle.
Miss Mathis is the only woman studio manager extant. She is in sole charge of Goldwyn production, with a corps of nine notable directors in action making special film productions.
But the upward journey included all the tank towns on the theatrical map and numerous other trips through professionalism before she reached Culver City.
Miss Mathis was born in Leadville, Colorado, on June 30. She comes from nine generations of physicians, lawyers and college professors. Her father was doctor and druggist; her great uncle is dean of one of the oldest colleges in England. She was educated in Salt Lake City and San Francisco. Her first stage experience was while very young, in San Francisco, dancing and doing imitations in vaudeville. Later she was with Ezra Kendall in The Vinegar Buyer, with James K. Hackett, Pauline Frederick and Julian Eltinge.
Like many stage people, she was prejudiced against motion pictures until she played in Los Angeles with Eltinge and met a number of film people.
She came to recognize the magnitude of the new industry and. as she had a liking for writing sketches and verse, tried writing scenarios after the Eltinge show closed for the season. Discovering that writing photodramas was a distinct art in itself. Miss Mathis wisely began a study with a magazine editor, an old friend. He revealed to her the story angle as adapted to public taste.
Miss Mathis first put a play in scenario form for a Metro director. He saw merit in her work and as a result she was engaged by the organization to work in the scenario department.
Within a year she was put in charge of that department and remained with the organization seven years. She had determined to make her life profession continuity writing, believing that this — then humble art — could be elevated. Only at times did she write originals.
Those who witnessed The Four Horsemen and Blood and Sand will realize how thoroughly the former stage actress succeeded in her newly chosen art.
Recently she received a commission to prepare the book of Ben Hur for a screen super-production. Through this arrangement came the offer of production management of Goldwyn’s, where she has a long contract.
She has her own home property on a beautiful elevation of Hollywood, a home of quiet elegance and ease.
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June Mathis, Goldwyn scenario head, and Eric von Stroheim [Erich von Stroheim] exchange their daily troubles.
Portrait by Hoover Art Co. • Los Angeles
Collection: The Blue Book of the Screen (1923)