The Biograph Girl

Florence Lawrence’s film career began just as the cinema was being born. She recognized the wonder and appeal of the fledgling industry, and her early work with the Vitagraph company gained her a legion of fans and a reputation as a willing and hard working actress. In 1908 she appeared in Romeo and Juliet—America’s very first screen Juliet. By 1909, she was working steadily for the Biograph studio–she was dubbed “the Biograph girl”—and was being praised for her “personal attractions” and “very fine dramatic ability.” But just as Lawrence was the first movie star in the industry, she was also one of the first to be undone by it. Hindered by setbacks, grueling work schedules, self-imposed retirements, three marriages, repeatedly unsuccessful comeback attempts, Lawrence finally committed suicide in 1938. This impressively researched piece of film history represents the first full-length biography of Florence Lawrence, also called “The Girl of a Thousand Faces.” Among the photographs are some never before published. A complete filmography of Lawrence’s entire career is provided. A summary chapter includes comments from various critics and historians, addressing how Lawrence is important to film history.

In this national bestseller, Mann masterfully blends fact with fiction to re-imagine the world's very first movie star--Florence Lawrence--who by 1910 was known as the legendary and enigmatic Biograph Girl. Despite her rumored suicide, a pair of twins find the sassy actress alive at age 107 and re-launch her stardom.

Award-winning author William J. Mann blends fact and fiction in this unconventional novel about the nature of celebrity The Biograph Girl is Florence Lawrence, who gets her first big break in vaudeville as a tiny tot who can whistle like a man. By 1910 she’s a legendary movie star, pursued by thousands of rabid fans. Just a few short decades later, she’s all but forgotten, reduced to walk-ons at MGM. In 1938 she kills herself by ingesting a lethal dose of ant paste. Fast-forward fifty-nine years. A 107-year-old woman named Flo Bridgewood is discovered in a Catholic nursing home in Buffalo. Could the feisty chain smoker with the red satin bow in her hair be America’s former sweetheart? Florence Lawrence is dead . . . isn’t she? And if not, then whose body is in her grave? That’s what journalist Richard Sheehan wants to find out as he and his identical twin brother, Ben, a documentary filmmaker, decide to cash in on a decades-old mystery. Sharing the stage is Flo herself, whose story is the stuff of Hollywood fantasy. A provocative melding of fact and fiction, The Biograph Girl is about what it means to be a celebrity—then and now.

Drawing on a wide range of archival sources, Andrew Shail traces the emergence of film stardom in Europe and North America in the early 20th century. Modifying and supplementing Richard deCordova's account of the birth of the US star system, Shail describes the complex set of economic circumstances that led film studios and actors to consent to the adoption of a star system. He then explores the film industry's turn, from 1908, to making character-based series films. He details how these characters both prefigured and precipitated the star system, demonstrating that series characters and the 'firmament' of film stars are functionally equivalent, and shows how openly fictional characters still provide the model for 'real' film stars.

"The Transformation of Cinema chronicles the history of the American film business from the days of storefront nickelodeons to the premiere of D.W. Griffith's The Birth of a Nation, complete with full symphony orchestra. Eileen Bowser here redresses the imbalance of the "Griffith did it all" cliché by discussing the efforts of countless lesser-known figures who also helped to create Hollywood and shape the growing film industry. The effect of the surroundings -- the size of the hall; whether the film was shown alone or along with vaudeville entertainment; and the size, quality, and relevance of the musical background -- are all examined for their impact on the filmgoing experience. Bowser documents the emergence of the star system, which set the stage for the classic silent-film era. By 1915 the silent film is seen as a full-fledged art form with its own style and place in the world of business."--Back cover.

A comprehensive biography of film's first star traces her rise to fame with the growth of the medium, her influence as a partner in United Artists, her relationship with Douglas Fairbanks, and her struggles later in life. UP.

The legendary filmmaker D. W. Griffith directed nearly 200 films during 1908 and 1909, his first years with the Biograph Company. While those one-reel films are a testament to Griffith's inspired genius as a director, they also reflect a fundamental shift in film style from "cheap amusements" to movie storytelling complete with characters and narrative impetus. In this comprehensive historical investigation, drawing on films preserved by the Library of Congress and the Museum of Modern Art, Tom Gunning reveals that the remarkable cinematic changes between 1900 and 1915 were a response to the radical reorganization within the film industry and the evolving role of film in American society. The Motion Picture Patents Company, the newly formed Film Trust, had major economic aspirations. The newly emerging industry's quest for a middle-class audience triggered Griffith's early experiments in film editing and imagery. His unique solutions permanently shaped American narrative film.