Vintage Movie Resources
Doris Kenyon — A Woman Apart (1925) 🇬🇧
A baffling, intriguing creature, with those flying eyes that do so much heart damage. Doris Kenyon is a princess in a fairy tale, a proud princess with a frozen heart.
Feeding Film Folk (1925) 🇬🇧
Larry Semon — Simple Semon (1925) 🇬🇧
Screen Scribes (1925) 🇬🇧
James Kirkwood — Unlucky Jim (1925) 🇬🇧
Thus named because he has had more accidents whilst filming than any other screen star. But it doesn’t apply otherwise, he himself smilingly admits
Lois Wilson — Lois Laughs at Men (1925) 🇬🇧
Her attitude to men is of a “gentle maternal, highly amused variety,” declares Vincent de Sola in this character analysis of Lois Wilson.
Charles (Buck) Jones — The Eternal Cowboy (1925) 🇬🇧
The Eternal Cowboy — Otherwise known as Charles (Buck) Jones
Victor Seastrom — The Sombreness of Seastrom (1925) 🇬🇧
Seastrom is one of the greatest producers in the world. His genius is unquestionable, even though he has, to a certain extent, prostituted it to American dollars.
Ben Lyon — Footlight or Shadows (1925) 🇬🇧
A newcomer to the movies who prefers the screen to the stage.
John Francis Dillon — Directors I Have Met (1925) 🇬🇧
John Francis Dillon, familiarly known as “Jack”, is a contradiction! Born and educated in New York City, he is so enthusiastic over California that only the initiated know that he is not a “Native Son.” Mr. Dillon has been identified with Hollywood for some time, making his visits East shorter and shorter and so the inference is a natural one.
An old timer in experience, though not in years, he has been in the business for more than ten years and before that was a legitimate actor with a reputation as an excellent player. Through a fellow actor, Carlyle Blackwell, then the leading Kalem star, Mr. Dillon was sent for to act in Kalem pictures. A shortage in directors led him to be tried out almost immediately and he has been director instead of actor ever since.
An up-to-date director, constantly studying new methods and trying in every way to advance himself, Dillon has gained a name for making pictures just a little different from the usual run.
There was Flaming Youth which set the stage for a series of flapper comedies and served, by the way, to firmly establish Colleen Moore as one of our leading stars.
The public demanded “More” and next came The Perfect Flapper with the charming Colleen in another delightful part. Everything runs in threes they say, and so it is to be expected that a third flapper comedy will come along with the same star, director and producing company.
The new picture, work on which will be started soon, is We Moderns, a filmisation of Zangwill’s stage play which was the sensation of two continents. Needless to say the part of Mary Sundale will be one of the best of Colleen’s roles.
Mr. Dillon is a firm advocate of good stories. He contends, and rightly, too, that there is no need of coarseness or suggestiveness to get a theme over; in fact, plays of this kind do much harm to the picture business.
Mr. Dillon hopes shortly to visit England to take some scenes in We Moderns and it is more than possible that he may make a picture over here Europe is an unexplored country and so he looks forward with much pleasure to the trip. Our talk was a pleasant one though he assured me he was a poor interviewer.
Later I met a friend of his, “Did he tell you about his new Rolls-Royce?” he asked, and when I replied in the negative, said that Jack was the only person in the world who would overlook such a very important item in an interview. Seems so to me, too, but since simplicity, the copy books tell us, is a sign of success — it may explain a lot of things!
Left: Colleen Moore and Ben Lyon in Flaming Youth
Above: John Francis Dillon.
Doris Kenyon and Frank Mayo in If I Marry Again
Collection: Picturegoer Magazine, November 1925
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see also other entries of the Directors I Have Met series:
- 1923-02: Frank Lloyd
- 1923-03: Allan Dwan
- 1923-04: Rex Ingram
- 1923-05: Frederic Sullivan-Londoner
- 1923-06: James Cruze
- 1923-07: John Robertson
- 1923-08: J. Gordon Edwards
- 1923-09: Elmer Clifton
- 1923-11: Herbert Brenon
- 1924-01: Harold Shaw
- 1924-06: Al Christie
- 1924-11: Millard Webb
- 1925-11: John Francis Dillon
The Art of Leatrice Joy (1925) 🇬🇧
Once upon a time, a new and quite original little actress drew towards her, by her work, the most discriminating eyes in the motion picture industry. Needless to say she became a star, but it says much for Leatrice Joy that she did not at the same time, cease being an actress.
The Art of Mary Pickford (1925) 🇬🇧
It is the hardest thing in the world to write about the art of Mary Pickford. Somehow you do not think of her as an artist. You think of her, first and foremost, as just Mary.
The Art of Douglas Fairbanks (1925) 🇬🇧
The author of this series has chosen his subjects with great deliberation, taking only those whose work seems to him a permanent and essential contribution to the art of the screen.
The Art of Charles Chaplin (1925) 🇬🇧
The art of Charlie Chaplin is the art of perfect pantomime. He is the only true mime in the kinema.
The Art of Ian Keith (1925) 🇬🇧
Ian Keith has discovered the kinema; when will the kinema discover Ian Keith?
The Art of Bernhard Goetzke (1925) 🇬🇧
Mysterious eyes, holding you, an immobile face, above a sculpturally immobile figure, striking you with an amazing sense of power restrained. The art of Bernhard Goetzke lies not in what he does, but in what he is powerful enough not to do.
Felix the Cat — Me and Pat Sullivan (1925) 🇬🇧
“I guess I was just tickled to death when Picturegoer asked me to write this article.”
Still Photographers — Magic in a Magic City (1925) 🇬🇧
Photographers play a large part in the lives of the movie stars. An artistic photograph is often responsible for the finding and making of a new film player.
Betty Blythe — A Bit About About Betty (1925) 🇬🇧
Alma Reville — Alma in Wonderland (1925) 🇬🇧
An interesting article, proving that a woman’s place is not always in the home.
The Art of John Barrymore (1925) 🇬🇧
The Author of this series has chosen his subjects with great deliberation, taking only those stars whose work seems to him a permanent and essential contribution to the art of the screen.
Lloyd Hughes — The Flapper’s Favourite (1925)
De Sola, the character expert, finds the face of this young screen actor makes its special appeal to the less mature element amongst movie audiences.
Anna May Wong — A Chinese Puzzle (1925) 🇬🇧
A Chinese Puzzle — The description suits Anna May Wong to a T.