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Film Booking Offices of America

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Poster for The Cowboy Cop (1926), starring Tom Tyler, one of FBO's many Western stars.

Film Booking Offices of America (FBO) was an American film studio of the silent era, a producer and distributor of mostly low-budget films. The business began as Robertson–Cole (U.S.), the American division of a British import-export company. Initiating movie production in 1920, a corporate reorganization led to the company's new name in 1922. The following year, the studio contracted with Western actor Fred Thomson, who would soon become one of Hollywood's biggest stars. In 1926, Joseph P. Kennedy led a group that acquired the studio. He was the company's president through autumn 1928, when it was part of the merger that created the major studio RKO.

Business history

Foundation and structure

FBO logo from 1924.

The company that would become FBO began as the U.S.-based movie subsidiary of the British importer, exporter, and film distributor Robertson–Cole. R-C Pictures, as it was sometimes known, had already entered the American film distribution market, forging an alliance with Exhibitors Mutual Distributing, a corporate descendant of the Mutual Film studio, in 1919.[1] The first of R-C's own feature productions to be released was The Wonder Man, directed by John G. Adolfi and starring Georges Carpentier, which debuted May 29, 1920.[2] With its move into production, Robertson–Cole (whose U.S. headquarters were located in New York City) established a 13.5-acre studio in L.A.'s fortuitously named Colegrove district, then adjacent to but soon to be subsumed by Hollywood.[3] In January 1921, Robertson-Cole absorbed Hallmark Pictures, which had acquired the Exhibitors Mutual interests the previous year.[4] The first official Robertson–Cole production shot at the studio was a February 1921 release, The Mistress of Shenstone, directed by Henry King and starring Pauline Frederick.[5]

In 1922, Robertson–Cole underwent a major reorganization as the company's founders departed. The flagship U.S. distribution business changed its name to Film Booking Offices of America, a banner under which R-C had previously released more than a dozen independent productions. The West Coast studio continued producing films exclusively as Robertson–Cole through 1922; the following year, it adopted Film Booking Offices as an additional production banner.[6] By 1924, FBO—still under majority British ownership—was the primary identity of the business on both sides of the country.[7] As a distributor, the company's roster of films was about half independent and foreign productions, half its own studio output. At the height of its activity (1923–28), it released an average of more than ninety features and shorts a year, focusing on distribution to small-town exhibitors and independent theater chains (that is, those not owned by one of the major Hollywood studios.)[8] As a production company, Film Booking Offices concentrated on low-budget movies, with an emphasis on Westerns. From 1923 forward, the company produced approximately 330 films, about 60 percent as FBO Pictures and the remainder as Robertson-Cole Pictures (a few higher-end productions of 1924–25 were made under the rubric of Gothic Pictures). The first official FBO feature production, released in June 1923, was Divorce, directed by Chester Bennett and starring Jane Novak and John Bowers.[9]

Kennedy takes command

FBO release logo from 1926.

As far back as 1921, the British owners of the studio had entered into a working relationship with Joseph P. Kennedy. The father of the future president was then a broker at the New York banking firm of Hayden, Stone, as well as the owner of Maine–New Hampshire Theatres, a small chain of movie houses.[10] Kennedy boasted to a colleague at the firm, "Look at that bunch of pants pressers in Hollywood making themselves millionaires. I could take the whole business away from them."[11] Though he failed then to arrange the sale the studio's general partners were looking for, in 1923 Kennedy—now a fully independent businessman—joined the FBO board of directors. Before leaving the board the following year, Kennedy put together a major distribution and production deal between FBO and leading Western star Fred Thomson.[12] In April 1925, FBO vice-president Joseph I. Schnitzer signed Thomson to a new contract paying him $10,000 a week. Thomson was now the highest paid of all cinematic Western stars, surpassing even the renowned Tom Mix. The deal also gave Thomson his own independent production unit at the studio.[13]

Datei:FredThomsonFBO.jpg
Publicity photo of Fred Thomson, FBO's biggest star during the Kennedy years.

Kennedy, meanwhile, was forming his own group of investors, including wealthy Boston lawyer Guy Currier and Filene's department store owner Louis Kirstein.[14] In August 1925, he traveled to England with an offer to buy a controlling stake in Film Booking Offices for $1 million. The bid was initially rejected, but in February 1926, FBO's owners decided to take the money; the studio was now Kennedy's and in March he moved to Hollywood to focus on running it. He addressed the company's perennial cash-flow problems by arrranging lines of credit and issuing stock in the new FBO business division he established, the Cinema Credit Corporation.[15] While he appointed Edwin King as the studio's new production chief, Kennedy took a personal hand in guiding the company creatively as well as financially.[16] One of those happiest to have Kennedy overseeing the studio was the head of the industry 's censorship board, Will Hays. Hays heralded Kennedy as "exceedingly American" (historian Cari Beauchamp explains the connotation: "not Jewish"), championing his "background of lofty and conservative financial connections, an atmosphere of much home and family life and all those fireside virtues of which the public never hears in the current news from Hollywood."[17] In short order, Kennedy brought stability to FBO, making it one of the most reliably profitable outfits in the minor leagues of the Hollywood studio system. While Westerns remained the studio's backbone, as Kennedy put it, "Melodrama is our meat."[18] Early in 1927, Kennedy arranged a deal with Paramount Pictures for the major studio to produce and distribute a series of four Thomson "super westerns"; Kennedy participated in the films' financing (and profits), while Thomson remained under personal contract to Kennedy and his production company stayed on the FBO lot.[19]

Sound enters the picture

Datei:FBOlogo1928.jpg
FBO logo from 1928.

The advent of sound film would drastically alter the studio's course: Negotiations that began in late 1927 with the Radio Corporation of America (RCA) on a deal for sound conversion led to RCA purchasing a major interest in FBO in January 1928. Four months later, as part of a strategy conceived with RCA head David Sarnoff, Kennedy acquired control of Keith-Albee-Orpheum (KAO), a vaudeville exhibition chain with approximately one hundred theaters across the United States and the Pathé (U.S.)–De Mille filmmaking operations under its charge.[20] On June 17, 1928, FBO's The Perfect Crime, directed by Bert Glennon and starring Clive Brook and Irene Rich, debuted.[21] It was the first feature-length "talkie" to appear from a studio other than Warner Bros. since the epochal premiere of Warners' The Jazz Singer eight months before. The film, which went into general release on August 4, had been shot silently; using RCA's sound-on-film Photophone system, the dialogue was dubbed in afterward—a process then known as "synthetic sound."[22] On August 22, Kennedy signed a contract with RCA for live Photophone recording; more importantly, he also tendered the company an option to buy his governing share of FBO. Two months later, RCA had acquired controlling stock interests in both the studio and KAO.

On October 23, 1928, RCA announced it was merging Film Booking Offices and Keith-Albee-Orpheum to form the new motion picture business Radio-Keith-Orpheum (RKO), with Sarnoff as chairman.[23] Kennedy, who retained Pathé, was paid $150,000 for arranging the merger on top of the millions of dollars in profit he made from selling off his stock.[24] Joseph I. Schnitzer, ranking FBO vice-president, was elevated to president of the new company's production arm, replacing Kennedy.[25] William LeBaron, the last FBO production chief, retained his postion after the merger, but the new studio, dedicated to full sound production, cut ties with most of FBO's roster of silent-screen performers. Movies that Film Booking Offices had either produced or arranged to distribute were released under the FBO banner through the end of 1929. The last official FBO production to reach American theaters was Pals of the Prairie, directed by Louis King and starring Buzz Barton and Frank Rice, released July 1, 1929.

Cinematic legacy

Headliners and celebrity casting

Publicity photo of Evelyn Brent, star of 14 FBO films between 1924 and 1926.

The majority of FBO/Robertson–Cole pictures were produced at low cost, during either the silent era or the transitional period of the conversion to sound cinema; over 90 percent of the studio's silent productions are thought to be lost, with no copies now known to exist. Consequently, many of FBO's star actors are barely remembered today: Pauline Frederick was the major headliner of the early R-C days; Evelyn Brent was FBO's most prized non-Western star. Warner Baxter, Joe E. Brown, and young Frankie Darro were among the other prominent FBO players. Anna Q. Nilsson starred in two of the studio's larger productions, as did Olive Borden and Douglas Fairbanks Jr. Richard Talmadge appeared in eighteen FBO releases, more than half of them produced by his own company. Maurice "Lefty" Flynn starred in over a dozen FBO action films, all directed by Harry Garson, who also ran his own production business.[26] Ralph Lewis headlined a number of FBO pictures, several directed by Emory Johnson, whose FBO-based production unit made seven films between 1922 and 1926.

At the foundation of the FBO identity were Westerns and the studio's major star in the genre, Fred Thomson. In both 1926 and 1927, he ranked number two in the Exhibitors' Herald survey of the "Top Stars of the Year," right behind Tom Mix.[27] In 1928, Mix himself joined the FBO roster, making five films with the studio.[28] In addition to Thomson and Mix, the cowboy stars of FBO included Harry Carey, Tom Tyler, Bob Custer, Bob Steele, and teenager Buzz Barton. Two of the studio's most popular Western headliners were dogs: Strongheart and Ranger. The company also released many shorts, most now long forgotten. Those of greatest historical interest are independently produced slapstick comedies with two important peformers: FBO put out several films in 1924–25 starring Stan Laurel, before his famous partnership with Oliver Hardy. In 1926–27, the company distributed more than a dozen shorts by innovative comedian/animator Charles Bowers.[29]

In its earlier years, the studio did not hesitate to take advantage of scandal sheet–worthy events for movie conception and promotion. After the death of celebrated actor Wallace Reid, brought on by morphine addiction, his widow, Dorothy Davenport, signed on as producer and star of a cinematic examination of the sins of substance abuse: Human Wreckage, released by FBO in June 1923, five months after Reid's death, featured Davenport (billed as Mrs. Wallace Reid) as the wife of a noble attorney turned dope fiend.[30] When the biggest movie star in the world, Rudolph Valentino, split from his wife, Natacha Rambova, she was swiftly enlisted by the studio to costar with Clive Brook in the sensitively titled When Love Grows Cold (1925).[31] Under Kennedy's control, studio production shifted away from provocative fare in an attempt to brand the studio's films as suitable for the "average American" and the entire family: "We can't make pictures and label them 'For Children,' or 'For Women' or 'For Stout People' or 'For Thin Ones.' We must make pictures that have appeal to all."[32] Though Kennedy ended the scandal-sheet specials, FBO still found occasion for celebrity casting: One Minute to Play (1926), produced under the Robertson–Cole rubric and directed by Sam Wood, marks the film debut of football great "Red" Grange.[33]

Notable films and filmmakers

FBO's Tarzan and the Golden Lion (1927) brought the famous character back to the big screen for the first time in six years. Tarzan would remain a Hollywood fixture for the next four decades.

Kennedy had no illusions about his studio's place in the realm of cinematic art. A journalist once complimented him on FBO's recent output: "You have had some good pictures this year." Kennedy jocularly inquired, "What the hell were they?"[34] In her history of RKO, author Betty Lasky points to the pre-Kennedy Broken Laws (1924), directed by Roy William Neill and starring Dorothy Davenport (again billed as Mrs. Wallace Reid) as exemplifying the rare "unforgettable picture of the higher caliber" put out by FBO.[35] In the realm of the action movie, one FBO production that stood out was a 1927 Tarzan picture. Author Edgar Rice Burroughs declared, "If you want to see the personification of Tarzan of the Apes as I visualize him, see the film Tarzan and the Golden Lion with Mr. James Pierce as Tarzan."[36] The Film Daily reviewer wrote that the movie "has a rather new order of thrills and atmosphere that might prove distinctly attractive."[37] The two-reeler West of Hot Dog (1924), according to historian Simon Louvish, contains "one of Stan [Laurel]'s finest gags," involving a level of cinematic technique that bears comparison to Buster Keaton's classic Sherlock, Jr.[38] Some of the studio's most impressive releases were foreign productions. In 1927, FBO picked up for U.S. distribution a celebrated Austrian biblical spectacular made three years earlier: Die Sklavenkönigin (The Slave Queen, aka Moon of Israel) had already won its director, Michael Kertész, a job with Warner Bros.[39] In Hollywood, he would change his name to Michael Curtiz. Una Nueva y gloriosa nación (1928), the most successful film in the history of Argentine silent cinema, was shot in Hollywood and distributed in the United States by FBO as The Charge of the Gauchos.[40]

A masked Brent in the title role of Lady Robin Hood (1925), directed by Ralph Ince.[41] Her cowering foe is played by Boris Karloff, who appeared in six FBO picures between 1925 and 1927.

One of the two cinematographers of Una Nueva y gloriosa nación was Nicholas Musuraca, who had established his career at Film Booking Offices. With RKO, Musuraca would become one of Hollywood's most respected cinematographers. Among FBO's other offscreen talent, the best known director to work regularly at the studio was Ralph Ince, younger brother of the famous Thomas H. Ince. Pulling double duty on occasion, Ralph Ince starred in four of the fourteen films he made for FBO. One production in which Ince served in both capacities was particularly well received: Chicago After Midnight (1928) was described by the New York Times as "[a]n unusually well-acted and adroitly directed underworld story."[42] After The Mistress of Shenstone, Henry King directed two more R-C films with Pauline Frederick, also in 1921: Salvage and The Sting of the Lash.[43] Tod Browning directed two Gothic Pictures specials in 1924 starring Evelyn Brent: The Dangerous Flirt and Silk Stocking Sal.[44] Editor Pandro S. Berman, son of a major FBO stockholder, cut his first film for the studio at the age of twenty-two; he would go on to renown as an RKO producer and production chief. Famed RKO costume designer Walter Plunkett was also an FBO graduate.

In addition to the work of Bowers, combining live action with animation, FBO was a distributor of other important animated films. Between 1924 and 1926, FBO released the work of John Randolph Bray's cartoon studio, including the "Dinky Doodle" series.[45] From 1925 to 1927, the studio put out approximately three dozen animated adaptations of George Herriman newspaper comics directed by William Nolan, most featuring characters from Herriman's famed Krazy Kat strip. FBO picked up the Krazy Kat cartoons from the producorial team of Margaret Winkler and her husband, Charles Mintz. In 1926, FBO struck a deal with the Winkler–Mintz operation for another series, one that, like Bowers' work, involved both animation and a live performer: the "Alice Comedies," of which FBO would put out over two dozen, were created by two young animators, Ub Iwerks and Walt Disney.[46]

Notes

  1. ↑ Goodwin (1987) describes Robertson–Cole as an "American motion picture firm" (p. 341), which was certainly true in a functional way after a certain point, but Jewell (1982) makes clear that the company was founded in Britain and that its American operations were run by Britishmen through 1922 (p. 8). As Goodwin and Jewell concur, majority ownership of FBO remained in British hands until 1926.
  2. ↑ For a description of the film, see the anonymous New York Times review, May 30, 1920 (available online).
  3. ↑ See Finler (1988), p. 12, for a map showing the FBO studio (later owned by RKO, Desilu, and now CBS Paramount Television) in relation to the other main Hollywood production facilities. Finler misidentifies Melrose Ave., which runs east-west along the south of the studio, as "Beverly Boulevard." Gower St. runs north-south along the studio's western side.
  4. ↑ Lyons (1974), p. 90 n. 123.
  5. ↑ For descriptions of the film, see the reviews in Moving Picture World (March 5, 1921) and Variety (March 18, 1921).
  6. ↑ Though Robertson–Cole remained the primary production identity in 1922–23, Lasky (1989) indicates that the entire film business was already incorporated as Film Booking Offices, Inc. (p. 13). Beauchamp (1998) refers to Kennedy's 1926 takeover of "R-C Pictures Corporation and Film Booking Office of America" (p. 180). The various references suggest that from 1922 forward, R-C Pictures Corp. was a subsidiary of FBO Inc. Jewell (1982) notes that between the 1922 reorganization and October 1923, one of the company's American investors, P. A. Powers, was effectively in command and "even changed the name to The Powers Studio for a short time" (p. 8). There is no record of the studio ever having produced or released a film under that banner. See also Lasky (1989), p. 13.
  7. ↑ Confoundingly, Crafton (1997) writes that the business Joseph Kennedy purchased in 1926 was "a small Hollywood studio, Robertson-Cole, and its New York distributor, Film Booking Office (FBO)" (p. 136). This is potentially misleading, even aside from the misspelling of FBO's name; Film Booking Offices was the primary studio identity by 1924 at the latest, even though the production company might still have been registered as R-C Pictures Corporation or some variation thereof. Crafton's nomenclature is belied by his own earlier listing of the significant U.S. film production companies of the mid-1920s, among which he names "Film Booking Office (FBO)," not Robertson–Cole (p. 68).
  8. ↑ Beauchamp (1998), p. 157.
  9. ↑ For a description of the film, see the anonymous New York Times review, June 26, 1923 (available online).
  10. ↑ Goodwin (1987), p. 342.
  11. ↑ Quoted in Lasky (1989), p. 12.
  12. ↑ Beauchamp (1998), pp. 157–158. See also JFK Library/Joseph P. Kennedy (#136) "Biographical Note." Retrieved May 6, 2007.
  13. ↑ Beauchamp (1998), p. 168.
  14. ↑ Beauchamp (1998), p. 180.
  15. ↑ Lasky (1989), pp. 14–15.
  16. ↑ Goodwin (1987), pp. 342–344. Crafton (1997) misleadingly implies that Kennedy immediately installed William LeBaron as production chief after his takeover of FBO (p. 136). In fact, as Jewell (1982) describes, King was the first head of production named by Kennedy, with LeBaron assuming the job in 1927 (p. 9).
  17. ↑ Quoted in Beauchamp (1998), p. 180. See also p. 197; Lasky (1989), p. 14.
  18. ↑ Quoted in Goodwin (1987), p. 348.
  19. ↑ Beauchamp (1998), pp. 211, 227.
  20. ↑ "Cinemerger" (1927); Lasky (1989), pp. 24–26. Note that the statement in Jewell (1982) referring to "the 700 K-A-O Theatres in the US and Canada" (p. 10) is wildly inaccurate and may well be a typo. Lasky (1989) says "several hundred theaters" (p. 25), Beauchamp (1998), citing Lasky, says "three hundred theaters" (quote: p. 228, cite: p. 414 n. 41)—figures belied by Time magazine's contemporary data (see "Cinemerger").
  21. ↑ For a description of the film, see the anonymous New York Times review, August 6, 1928 (available online). According to Crafton (1997), The Perfect Crime "premiered 17 June 1928 and opened at the Rivoli on 4 August" (p. 140).
  22. ↑ Crafton (1997), pp. 140, 304.
  23. ↑ While all other latter-day published sources give October as the date of the merger, Crafton (1997) states, "The new holding company, Radio-Keith-Orpheum, was formed on 21 November 1928" (p. 142).
  24. ↑ Lasky (1989), pp. 33–34.
  25. ↑ Jewell (1982), p. 10.
  26. ↑ For more on Flynn, see Christgau (1999), 55–59.
  27. ↑ Beauchamp (1998), p. 224.
  28. ↑ Beauchamp (1998), p. 227.
  29. ↑ For more on Bowers' work with FBO, see Crafton (1993), p. 362 n. 39.
  30. ↑ Schaefer (1999), p. 224.
  31. ↑ Goodwin (1987), p. 341.
  32. ↑ Quoted in Goodwin (1987), p. 347.
  33. ↑ Hall (1926).
  34. ↑ Quoted in Lasky (1989), p. 14.
  35. ↑ Lasky (1989), p. 14.
  36. ↑ Quoted in Fenton (2002), p. 107.
  37. ↑ Quoted in Fenton (2002), p. 107.
  38. ↑ Louvish (2001), pp. 171–172.
  39. ↑ Kemp (1987), p. 173.
  40. ↑ Finkielman (2004), p. 84.
  41. ↑ For a description of the film, see Buehrer (1993), pp. 43–44.
  42. ↑ Hall (1928).
  43. ↑ For a description of the former, see the review in Variety, June 17, 1921. For descriptions of the latter, see the reviews in Harrison's Reports (October 1, 1921) and Variety (October 21, 1921).
  44. ↑ For a brief description of the former, see Sullivan (1986), p. 60. For a description of the latter, see Langman (1998), p. 88.
  45. ↑ Crafton (1993), pp. 186, 187; Langer (1995), pp. 105, 259 n. 40.
  46. ↑ Crafton (1993), p. 285; Langer (1995), p. 259 n. 39.

Note: Many sources (including Douglas Crafton and Cari Beauchamp, cited herein) give FBO's full name incorrectly as "Film Booking Office of America"; the proper name is Film Booking Offices of America, as can be verified by reference to multiple versions of the company's official logo. See, e.g., the FBO page on the Learn About Movie Posters website. Remarkably, even this source misstates the name throughout the accompanying text.

Sources

Published

  • Beauchamp, Cari (1998). Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood (Berkeley, Los Angeles, and London: University of California Press). ISBN 0-520-21492-7
  • Buehrer, Beverley Bare (1993). Boris Karloff: A Bio-Bibliography (Westport, Conn.: Greenwood Press). ISBN 0-313-27715-X
  • Christgau, John (1999). The Origins of the Jump Shot: Eight Men Who Shook the World of Basketball (Lincoln: University of Nebraska Press). ISBN 0-8032-6394-5
  • "Cinemerger" [anon.] (1927). Time, May 2 (available online).
  • Crafton, Donald (1993). Before Mickey: The Animated Film, 1898-1928 (Chicago and London: University of Chicago Press). ISBN 0-226-11667-0
  • Crafton, Donald (1997). The Talkies: American Cinema's Transition to Sound, 1926–1931 (New York: Charles Scribner's Sons). ISBN 0-684-19585-2
  • Fenton, James W. (2002). Edgar Rice Burroughs and Tarzan: A Biography of the Author and His Creation (Jefferson, N.C.: McFarland). ISBN 0-7864-1393-X
  • Finkielman, Jorge (2004). The Film Industry in Argentina: An Illustrated Cultural History (Jefferson, N.C.: McFarland). ISBN 0-7864-1628-9
  • Finler, Joel W. (1988). The Hollywood Story (New York: Crown). ISBN 0-517-56576-5
  • Goodwin, Doris Kearns (1987). The Fitzgeralds and the Kennedys: An American Saga (New York: Simon & Schuster). ISBN 0-671-23108-1
  • Hall, Mordaunt (1926). "'Red' Grange's First Film," New York Times, September 6 (available online).
  • Hall, Mordaunt (1928). "An Irish Mother. Bootleggers and Night Clubs," New York Times, March 6 (available online).
  • Jewell, Richard B., with Vernon Harbin (1982). The RKO Story (New York: Arlington House/Crown). ISBN 0-517-54656-6
  • Kemp, Philip (1987). "Curtiz, Michael," in World Film Directors, Volume 1: 1890–1945, ed. John Wakeman (New York: H. W. Wilson), 172–181. ISBN 0-8242-0757-2
  • Langer, Mark (1995). "John Randolph Bray: Animation Pioneer," in American Silent Film: Discovering Marginalized Voices, ed. Gregg Bachman and Thomas J. Slater (Carbondale: Southern Illinois Univ. Press, 2002), 94–114. ISBN 0809324024
  • Langman, Larry (1998). American Film Cycles: The Silent Era (Westport, Conn.: Greenwood Press). ISBN 0-313-30657-5
  • Louvish, Simon (2001). Stan and Ollie: The Roots of Comedy: The Double Life of Laurel and Hardy (New York: St. Martin's). ISBN 0-312-26651-0
  • Lyons, Timothy James (1974 [1972]). The Silent Partner: The History of the American Film Manufacturing Company, 1910-1921 (New York: Arno Press). ISBN 0-405-04872-6
  • Lasky, Betty (1989). RKO: The Biggest Little Major of Them All (Santa Monica, Calif.: Roundtable). ISBN 0-915677-41-5
  • Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959 (Durham and London: Duke University Press). ISBN 0-8223-2374-5
  • Sullivan, Jack, ed. (1986). The Penguin Encyclopedia of Horror and The Supernatural (New York: Viking). ISBN 0-670-80902-0

Online

  • The Silent Films of FBO Pictures comprehensive listing of silent films produced by FBO/Robertson–Cole and released between 1925 and 1929—see also The Early Sound Films of Radio Pictures for FBO sound productions released in 1928 (the list does not clearly indicate the several FBO sound productions released in 1929); both part of Vitaphone Video Early Talkies website
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