The Human Gamble
| The Human Gamble | |
|---|---|
 1916 Newspaper advertisement | |
| Directed by | Lloyd B. Carleton |
| Written by | Calder Johnstone |
| Screenplay by | Calder Johnstone |
| Produced by | Lloyd B. Carleton |
| Starring | |
Production company | Universal |
Release date |
|
Running time | 15–24 minutes (2 reels) |
| Country | United States |
| Language | English intertitles |
The Human Gamble was a 1916 American
The story revolves around a stockbroker Father and his two children. Both work at the father's firm, but the son gets fired for gambling. His sister follows him out the door. They both go to work for a rival firm. Financial adventures ensue, and the daughter ends up saving her father's brokerage house from financial ruin.
Plot
John Hill is a successful wall-street stock trader and runs his own brokerage house. Hill has achieved his success through prudent investments and hard work. He hoped to instill these qualities in his children. He has a son, Charles, and a daughter, Flavia. Both of his children work at the Hill brokerage house. Charles Hill, along with being a stockbroker, also loves to gamble. While spending a considerable amount of time at the gaming tables, he has racked up debts. His father has helped him repay a few of these debts. John Hill believes his son's gambling habit sends the wrong message to potential investment clients. His gambling habits also jeopardized his ascent to the president of the brokerage house.
Since John Hill despises anyone identified with gambling, his resentment of his son's gambling grows until his emotions boil. He demands his son to move out of the house and then disowns him. Flavia must choose between supporting her brother or her father. She supports her brother, and they both move away while resigning their positions at their father's company.
Time passes, both siblings find employment at a rival brokerage company. They become confidential clerks for the brokerage house owner, Frank Garner. Both become successful at their new positions. Flavia moves up the ranks and becomes the company's office supervisor. Flavia's beauty and acumen with stocks catch Frank's eye. Frank and Flavia grow closer and develop feelings for each other. They set a date, and the couple marries. They share ownership of the Brokerage house.
A financial war breaks out between the two brokerage houses. Amid this rivalry, Frank Garner becomes very ill. Flavia takes charge of the brokerage house. It is up to Flavia to sustain the competition against her father. Flavia brings the Garner house to new financial heights while pushing her father to the brink of total collapse.
Her father calls Flavia and pleads with her to help him. The rivalry has reached a point where she must decide between an obligation to her father and her husband's love. At first, she refuses to help her father since she has a point to prove. Also, if she helps her father, it will ruin her husband's business.
Flavia reconsiders and decides Blood is thicker than water. She scrambles to her father's office and finds him about to commit suicide. Flavia develops a quick financial recovery plan for her father. She engineers a financial bailout of her father's company reaps a windfall profit and saves her father's brokerage house. Her father regains his financial footing and repays the debt to his daughter. They settled all financial obligations between the two rival companies. The Hill family reconciles while saving her father's company, and they all live happy lives.
Cast
| Actor | Role |
|---|---|
| Dorothy Davenport | Flavia Hill |
| Emory Johnson | Charles Hill |
| Richard Morris | Frank Garner |
| Alfred Allen | John Hill |
Production
Pre production
In the book, "American Cinema's Transitional Era," the authors point out, The years between 1908 and 1917 witnessed what may have been the most significant transformation in American film history. During this "transitional era," widespread changes affected film form and film genres, filmmaking practices and industry structure, exhibition sites, and audience demographics.[2] One aspect of this transition was the longer duration of films. Feature films[a] were slowly becoming the standard fare for Hollywood producers. Before 1913, you could count the yearly features on two hands.[5] Between 1915 and 1916, the number of feature movies rose 2 ½ times or from 342 films to 835.[5] There was a recurring claim that Carl Laemmle was the longest-running studio chief resisting the production of feature films.[6] Universal was not ready to downsize its short film business because short films were cheaper, faster, and more profitable to produce than feature films. [b]
Laemmle would continue to buck this trend while slowly increasing his output of features. In 1914, Laemmle published an essay titled - Doom of long Features Predicted.[8] In 1915, Laemmle ran an advertisement extolling Bluebird films while adding the following vocabulary on the top of the ad.[c] Carl Laemmle released 100 feature-length films in 1916, as stated in Clive Hirschhorn's book, The Universal Story.[10]
Casting
All players in this film were under contract with Universal.
- Universal when the 21 year-old actress played Flavia Hill. She had acted in hundreds of movies by the time she starred in this film. Most of these films were 2-reel shorts, as was the norm in Hollywood's teen years. She had been making movies since 1910. She started dating Wally Reid when she was barely 16, and he was 20. They married in 1913. After her husband died in 1923, she used the name "Mrs. Wallace Reid" in the credits for any project she took part in.[11] Besides being an actress, she would eventually become a film director, producer, and writer.[12]
- Wallace Reed. A major part of his plan was to create a movie couple that would sizzle on the silver screen. Laemmle thought Dorothy Davenport and Emory Johnson could create the chemistry he sought. Johnson and Davenport would complete 13 films together. They started with the successful feature production of Doctor Neighbor in May 1916 and ended with The Devil's Bondwoman in November 1916. After completing the last movie, Laemmle thought Johnson did not have the screen presence he wanted. He decided not to renew his contract.[13][12]Johnson would make 17 movies in 1916, including 6 shorts and 11 feature-length Dramas. 1916 would become the second-highest movie output of his entire acting career. Emory acted in 25 films for Universal, mostly dramas with a sprinkling of comedies and westerns.
- Richard Morris (1862-1924) was 54 years old when he played Frank Garner. He was a character actor and former opera singer known for Granny (1913). He would eventually participate in many Johnson projects, including |In the Name of the Law (1922), The Third Alarm (1922), The West~Bound Limited (1923), The Mailman (1923) until his untimely death in 1924.
- Alfred Allen (1866-1947) was 50 years old when he played John Hill. Allen was highly educated, had a commanding presence, stood six feet tall, and weighed two hundred pounds. He got his start in the film industry at Universal city in 1913. He landed his first role in 1915. His roles were character parts, and he played mostly fathers, villains, or ranch owners. Alfred Allen appeared in 69 features from 1916 through 1929. After Heartaches he would appear in four more Davenport-Johnson projects: ‘’A Yoke of Gold,’’ The Unattainable, The Human Gamble and Barriers of Society.[14]
Director
Lloyd B. Carleton
Lloyd B. Carleton (c. 1872–1933) started working for Carl Laemmle in the Fall of 1915.[15] Carleton arrived with impeccable credentials, having directed some 60 films for the likes of Thanhouser, Lubin, Fox, and Selig.[16]
Between March and December 1916, 44-year-old Lloyd Carleton directed 16 movies for Universal, starting with The Yaqui and ending with The Morals of Hilda. Emory Johnson acted in all 16 of these films. Of Carleton's total 1916 output, 11 were feature films, and the rest were two-reel shorts.
Carleton was given the task by Carl Laemmle to determine if the Davenport-Johnson duo had the desired on-screen chemistry. In 1916, Carleton directed 13 films pairing Dorothy Davenport and Emory Johnson. This film would be the eleventh in the 13-film series.
 ◆ The Davenport–Johnson searching for chemistry in 1916 ◆
| |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Title
|
Released
|
Director
|
Davenport role
|
Johnson role
|
Type
|
Time
|
Brand
|
Notes
| |||||||||
| Doctor Neighbor | May-1 | L. B. Carleton | Hazel Rogers | Hamilton Powers | Drama | Feature | Lost | Red Feather | [17] | ||||||||
| Her Husband's Faith | May-11 | L. B. Carleton | Mabel Otto | Richard Otto | Drama | Short | Lost | Laemmle | [18] | ||||||||
| Heartaches | May-18 | L. B. Carleton | Virginia Payne | S Jackson Hunt | Drama | Short | Lost | Laemmle | [19] | ||||||||
| Two Mothers | Jun-01 | L. B. Carleton | Violetta Andree | 2nd Husband | Drama | Short | Lost | Laemmle | [20] | ||||||||
| Her Soul's Song | Jun-15 | L. B. Carleton | Mary Salsbury | Paul Chandos | Drama | Short | Lost | Laemmle | [21] | ||||||||
| The Way of the World | Jul-03 | L. B. Carleton | Beatrice Farley | Walter Croyden | Drama | Feature | Lost | Red Feather | [22] | ||||||||
| No. 16 Martin Street | Jul-13 | L. B. Carleton | Cleo | Jacques Fournier | Drama | Short | Lost | Laemmle | [23] | ||||||||
| A Yoke of Gold | Aug-14 | L. B. Carleton | Carmen | Jose Garcia | Drama | Feature | Lost | Red Feather | [24] | ||||||||
| The Unattainable | Sep-04 | L. B. Carleton | Bessie Gale | Robert Goodman | Drama | Feature | 1 of 5 reels | Bluebird | [25] | ||||||||
| Black Friday | Sep-18 | L. B. Carleton | Elionor Rossitor | Charles Dalton | Drama | Feature | Lost | Red Feather | [26] | ||||||||
| The Human Gamble | Oct-08 | L. B. Carleton | Flavia Hill | Charles Hill | Drama | Short | Lost | Laemmle | [27] | ||||||||
| Barriers of Society | Oct-10 | L. B. Carleton | Martha Gorham | Westie Phillips | Drama | Feature | 1 of 5 reels | Red Feather | [28] | ||||||||
| The Devil's Bondwoman | Nov-11 | L. B. Carleton | Beverly Hope | Mason Van Horton | Drama | Feature | Lost | Red Feather | |||||||||
Screenplay
Calder Johnstone (1880–1958)[29] wrote both the story and screen adaptation.[1]
Filming
On March 15, 1915,[30] Laemmle opened the world's largest motion picture production facility, Universal City Studios.[31] Since this film required no location shooting, it was filmed in its entirety at the new studio complex.
The Davenport-Johnson pairing produced 13 films which over half were feature-length. Before The Human Gamble, the pairing had headlined five feature-length films, including: Doctor Neighbor, The Way of the World, A Yoke of Gold, The Unattainable, and Black Friday.
According to an article in November 1, 1916 issue of
"Lloyd Carleton, Dorothy Davenport, and Emory Johnson make their appearance on the Universal program in a two-reel, after a protracted period of stardom in Red Feather and Bluebird features. The Human Gamble was initially intended to be a five-reel picture, but after the production was well underway, it was discovered that it would be much better as a short-reel picture."[32]
Release and reception
Official release
The copyright was filed with U.S. Copyright Office on September 21, 1916.[33] and entered into the record as shown:[d] and officially released on October 8, 1916.[1]
Advertising
By 1915, feature films were becoming more the trend in Hollywood. However, Universal wasn't ready to downsize its short film business. Short films were cheaper and faster to produce than feature films. While advertising short films, Universal might include a section titled–"' The Universal Programs'" above the movie ads, espousing the advantages of continuing to show short films.[9][e]
Many of the newspaper ads for the film use the following Tagline:
"A Financial Drama, Wall Street, or The Card Room, is There any real Difference?"
hook to attract paying customers:"Story of a business war waged within the immediate family of John Hill. - Hypocrite"[35]
One newspaper advertisement shows The Human Gamble playing along with two other films:
- William Lowery and Agnes Vernon starring the two-reel drama The Call of the Past.[36]
- Gale Henry and Billy Franey starring the one-reel comedy The Inspector's Double.[37]
Reviews
Lengthy detailed reviews for short films were rare. The Hollywood magazines primarily reviewed feature films and only gave short films honorable mention. Of course, in 1916, movie magazines were evolving and becoming more sophisticated like the movies they reviewed and advertised.
In the October 14, 1916 issue of The Moving Picture World, quoted from the section - Comments on the Films - Exclusively by our own Staff:[38]
"This is a bright, entertaining subject, well-constructed and quite original in certain situations."
The November 1, 1916 issue of The York Gazette & Daily, the reviewer points out:[32]
"The picture, being a Carleton production, is full to the brim of exciting moments and tense situations."
Preservation status
Many silent-era films did not survive for reasons as explained on this Wikipedia page.[f]
According to the Library of Congress, all known copies of this film are lost.
Gallery
-
Dorothy Davenport in 1914
Flavia Hill -
Emory Johnson in 1916
Charles Hill -
Richard Morris in 1916
Frank Garner -
Alfred Allen in 1919
John Hill
.jpg)
Notes
- ^ A "feature film" or "feature-length film" is a narrative film (motion picture or "movie") with a running time long enough to be considered the principal or sole presentation in a commercial entertainment program. A film can be distributed as a feature film if it equals or exceeds a specified minimum running time and satisfies other defined criteria. The minimum time depends on the governing agency. The American Film Institute[3] and the British Film Institute[4] require films to have a minimum running time of forty minutes or longer. Other film agencies, e.g.,Screen Actors Guild, require a film's running time to be 60 minutes or greater. Currently, most feature films are between 70 and 210 minutes long.
- ^ " Short Film" - There are no defined parameters for a Short film except for one immutable rule -the film's maximum running time. The Academy of Motion Picture Arts and Sciences defines a short film as "an original motion picture that has a running time of 40 minutes or less, including all credits".[7]
- ^ The moving picture business is here to stay. That you must admit, despite carping critics and blundering sore-heads, true, some exhibitors have found business so good lately — but if you get down to facts when you look for a reason why, it's a 100 to 1 shot that they are, and for some time have been, dallying with a feature program. Some of these wise ones will tell you that business has picked up since they went into features, — BUT — ask them whether they are talking NET or GROSS. They will find they have an immediate appointment and terminate your queries unceremoniously. Funny how we like to kid ourselves, isn't it? The man who is packing 'em in and losing money on features is envied by his competitor, who is laying by a bit every day, and has a good steady, dependable patronage but admits to a few vacant seats at some performances. When this chap wakes up, he will realize that he has a gold mine and that good advertising will make it produce to capacity. The moral is that if you can tie up to the Universal Program, DO IT. If you can't NOW, watch your first chance. Let the people know what you have, and let the feature man go on to ruin if he wants to. You should worry!
Motion Picture News - May 6, 1916[9] - ^ The copyright was filed with U.S. Copyright Office and entered into the record as shown:
- THE HUMAN GAMBLE. Rex. 1916. 2 reels.
Credits: Calder Johnstone; Producer, Lloyd B. Carleton.
© Universal Film Mfg. Co., Inc.; 21Sep16;
LP9161
- THE HUMAN GAMBLE. Rex. 1916. 2 reels.
- ^ "The moving picture business is here to stay. Some of these wise ones will tell you that business has picked up since they went into features, — BUT — ask them whether they are talking NET or GROSS. The man who is packing 'em in and losing money on features is envied by his competitor, who is laying by a bit every day, and has a good steady, dependable patronage but admits to a few vacant seats at some performances. When this chap wakes up, he will realize that he has a gold mine and that good advertising will make it produce to capacity. The moral is that if you can tie up to the Universal Program, DO IT. If you can't NOW, watch your first chance. Let the people know what you have and let the feature man go on to ruin if he wants to."
- ^ Film is history. With every foot of film lost, we lose a link to our culture, the world around us, each other, and ourselves. – Martin Scorsese, filmmaker, director NFPF Board[39]
A report by Library of Congress film historian and archivist David Pierce estimates that:
References
- ^ a b c "Calendar of Current and Coming Releases". Motion Picture News. New York, Motion Picture News, Inc. September 30, 1916. p. 2064. Archived from the original on June 29, 2015. Retrieved April 5, 2024.
- ^ Keil & Stamp 2004, p. 1.
- ^ "AFI-FAQ". afi.com. American Film Institute. Retrieved November 23, 2022.
- ^ "FAQ". bfi.org.uk. British Film Institute. Retrieved November 24, 2022.
- ^ a b Keil & Stamp 2004, p. 80.
- ^ Brouwers, Anke (July 4, 2015). "Only Whoop Dee Do Songs. Bluebird Photoplays Light(en) Up the Cinema Ritrovato — Photogénie". Cinea. Archived from the original on April 11, 2022. Retrieved November 19, 2022.
- AMPAS. Retrieved November 25, 2022.
- ^ "Doom of long Features Predicted". Moving Picture World. New York, Chalmers Publishing Company. July 11, 1914. p. 185. Archived from the original on August 9, 2011. Retrieved February 25, 2023.
written by Carl Laemmle
- ^ a b "The Universal Program". Motion Picture News. Motion Picture News, inc. May 6, 1916. p. 2704. Retrieved February 7, 2021.
- ^ Hirschhorn 1983, pp. 22–23.
- ^ "Dorothy Davenport". AFI Catalog of Feature Films. American Film Institute. Retrieved January 20, 2021.
- ^ ISBN 978-0-7864-8266-5.
- ^ "Plays and Players". Exhibitors Herald. Chicago, Exhibitors Herald. June 1, 1918. p. 1050.
- ISBN 978-1-4766-0905-8. Retrieved February 28, 2021.
- ^ "CARLETON, Lloyd B." www.thanhouser.org. Thanhouser Company Film Preservation. March 1994. Retrieved February 19, 2021.
Thanhouser Company, Thanhouser Films: An Encyclopedia and History Version 2.1 by Q. David Bowers,Volume III: Biographies
- ^ Wikipedia Lloyd Carleton page
- ^ Braff 1999, p. 120.
- ^ Braff 1999, p. 213.
- ^ Braff 1999, p. 206.
- ^ Braff 1999, p. 518.
- ^ Braff 1999, p. 215.
- ^ The Way of the World at the American Film Institute Catalog
- ^ Braff 1999, p. 349.
- ^ A Yoke of Gold at the American Film Institute Catalog
- ^ The Unattainable at the American Film Institute Catalog
- ^ Black Friday at the American Film Institute Catalog
- ^ Braff 1999, p. 238.
- ^ Barriers of Society at the American Film Institute Catalog
- IMDb
- ^ Hirschhorn 1983, p. 8.
- ^ "Universal Studios Lot | Universal Studios". Universal Studios Lot. Retrieved March 28, 2024.
- ^ newspapers.com.
- ^ "Catalog of Copyright Entries Cumulative Series Motion Pictures 1912 - 1939". Internet Archive. Copyright Office * Library of Congress. 1951. p. 403. Retrieved March 31, 2021.
Motion Pictures, 1912-1939, is a cumulative catalog listing works registered in the Copyright Office in Classes L and M between August 24, 1912 and December 31, 1939
- newspapers.com.
a Financial Drama, Wall Street, or The Card Room, is There any real Difference?
- newspapers.com.
A story of a business war waged within the immediate family of John Hill. - Hypocrite
- IMDb
- IMDb
- ^ "Comments on the Films - Exclusively by our own Staff". The Moving Picture World. October 14, 1916. p. 259. Retrieved April 20, 2021.
- ^ "Preservation Basics". filmpreservation.org. Retrieved December 16, 2020.
Movies have documented America for more than one hundred years
- ^ Pierce, David. "The Survival of American Silent Films: 1912-1929" (PDF). Library Of Congress. Council on Library and Information Resources and the Library of Congress. Retrieved November 18, 2020.
- ISBN 978-0786408368. Retrieved November 20, 2021.
75 percent of all American silent films are gone, and 50 percent of all films made before 1950 are lost; such figures, as archivists admit in private, were thought up on the spur of the moment, without statistical information to back them up.
Sources
- Braff, R.E. (1999). The Universal Silents: A Filmography of the Universal Motion Picture Manufacturing Company, 1912-1929. McFarland. ISBN 978-0-7864-0287-8. Retrieved January 24, 2024.
- Hirschhorn, Clive (1983). The Universal Story - The Complete History of the Studio and its 2,641 films. New York: ISBN 0-517-55001-6.
- Keil, C.; Stamp, S. (2004). American Cinema's Transitional Era: Audiences, Institutions, Practices. ACLS Humanities E-Book. University of California Press. ISBN 978-0-520-24027-8. Retrieved February 24, 2023.
Further reading
- Fleming, E.J. (2010). Wallace Reid: The Life and Death of a Hollywood Idol. McFarland. ISBN 978-0-7864-8266-5.
- Katchmer, G.A. (2015). A Biographical Dictionary of Silent Film Western Actors and Actresses. McFarland, Incorporated, Publishers. ISBN 978-1-4766-0905-8. Retrieved April 4, 2024.
- Holmstrom, J. (1996). The Moving Picture Boy: An International Encyclopaedia from 1895 to 1995. Michael Russell. ISBN 978-0-85955-178-6. Retrieved April 4, 2024.
External links
