ACKNOWLEDGMENTS

ACKNOWLEDGMENTS       With appreciation and gratitude to everyone who was involved in Finding Their Voices: The Representation of African American Women in Silent Film, and in particular to: Florida Humanities, with support from the National Endowment for the Humanities, for a grant to fund, prepare, and promote the program. Special thanks to Lindsey Morrison, Grants Director; Stephanie Chill, Grants Coordinator; and Lashonda Curry, Communications Director. The Norman Studios Silent Film Museum, Jacksonville, Florida, for hosting and supporting the program. Special thanks to Rita Reagan, President and Pro Bono Executive Director; Devan Stuart Lesley, Media and Publicity Director; and…

Early Black Women Filmmakers: Eloyce Gist and Zora Neale Hurston
by Christina N. Baker

Early Black Women Filmmakers: Eloyce Gist and Zora Neale Hurston by Christina N. Baker   Verdict Not Guilty (1933)   Better known than Gist was author, playwright, and poet Zora Neale Hurston, who today is best remembered for her remarkable novels such as Their Eyes Were Watching God. Hurston was formally trained as an anthropologist. Eventually, she returned to her hometown of Eatonville, Florida, where she conducted research and filmed ethnographic footage that preserved the culture, music, and folklore of the people, much as she did in her own writing. Together, Gist and Hurston provide an excellent example of the…

Race Women and Uplift: The Colored Players Film Corporation
by Ken Fox

Race Women and Uplift: The Colored Players Film Corporation by Ken Fox By the early 1920s, numerous independent companies had entered the race film industry, albeit with mixed results. Some, like Ebony, merely perpetuated the degrading stereotypes, while others, despite their ambition, failed to produce even a single film before going out of business. One of the best and most successful of the silent race film companies, though, was the Colored Players Film Corporation of Philadelphia, Pennsylvania, co-founded by White entrepreneur and theater owner David Starkman and popular Black stage performer and Vaudevillian Sherman H. Dudley. Although Dudley was the…

Centering Black Women: The Silent Films of Oscar Micheaux
by Gerald R. Butters, Jr.

Centering Black Women: The Silent Films of Oscar Micheaux by Gerald R. Butters, Jr. From his first film, The Homesteader (1919), and throughout his cinematic career, he addressed sensitive issues that other filmmakers systematically avoided. Micheaux’s film Within Our Gates (1920), for example, was produced in large part as a response and a counter-narrative to D.W. Griffith’s racist epic, The Birth of a Nation (1915). Its scenes of graphic sexual and racial violence by whites diametrically opposed Griffith’s depiction of Black aggression, violence, and vengeance. Micheaux’s cinematic portrayals of African Americans stood in sharp contrast to Hollywood’s stereotypical and degrading…

Reversing the Stereotype: Richard E. Norman and the Norman Studios
by Barbara Tepa Lupack

Reversing the Stereotype: Richard E. Norman and the Norman Studios by Barbara Tepa Lupack Over the next decade, he completed seven popular films, including two race Westerns starring black rodeo star Bill Pickett (The Bull-Dogger and The Crimson Skull), a South-Seas adventure set on a desert island (Regeneration), and a thriller about the discovery of oil in Oklahoma (Black Gold). His best-known, most successful, and only extant film was a mystery-adventure story, The Flying Ace, which drew on the public’s fascination with flight and other new transportation technologies. Unlike the degrading Black stereotypes in the dominant film of his era,…

The Representation of African American Women in Silent Film
by Barbara Tepa Lupack

The Representation of African American Women in Silent Film by Barbara Tepa Lupack In the new genre of “race movies” created in the 1910s and 1920s, early independent race filmmakers attempted to counter the negative imagery with more realistic depictions of Black Americans and to establish new character types and situations. Seen by Black audiences, largely unseen by whites, race movies featured Black actresses and actors and incorporated timely and often controversial themes. And they depicted a virtually all-Black world, one with which Black moviegoers, particularly the growing number of Black female attendees, could identify. While race films did not,…

Serials Bibliography

Bibliography Sources About Serials   Among the best sources for information about serials are the contemporary trade film publications such as The Moving Picture World, Motion Picture News, Motography, Billboard, Variety, Dramatic Mirror, Photoplay, and early fan magazines.     Acker, Ally. Reel Women: Pioneers of the Cinema, 1896 to the Present. New York: Continuum, 1991. Barbour, Alan G. Cliffhanger: A Pictorial History of the Motion Picture Serial. Introduction by Linda Stirling. New York: A & W, 1997. —. Days of Thrills and Adventure: An Affectionate Pictorial of the Movie Serial. Introduction by William K. Everson. New York: Collier Books,…

Z is for Zircon

Z …is for Zircon       Over fifteen episodes, The Spider relentlessly pursues Manning and Helen across several continents, placing them in a variety of compromising situations. In the opening chapters, Manning is left for dead on the spinning hub of one of the monstrous wheels of the potash pump and nearly suffocated by a poison cloud released in his laboratory. Revived, he journeys to the desert to uncover new deposits of potash; but he and Helen are captured by The Spider and left to die, first in a raging sandstorm and then in an ancient tomb. Afterward, they…

Y is for The Yellow Menace

Y …is for The Yellow Menace   The Yellow Menace (1916), produced by William Steiner and directed by Aubrey N. Kennedy, was a sixteen-part “preparedness” serial explicitly designed to make Americans feel the urgency of military readiness. Based on a story by British novelist Louis Tracy, with a scenario written by Kennedy, it focused on Ali Singh, “The Higher One” (played by veteran stage actor Edwin Stevens), a fanatical Mongolian scientist and brutal race zealot who is intent on destroying the United States, and on the efforts of an international banker who supports a bill to exclude all non-whites from…

X is for The X-Rays

X …is for The X-Rays   The X-Rays (1897), sometimes called The X-Ray Fiend, was not a serial. It was, however, one of many early short “trick” or “illusion” films that influenced George Méliès and other pioneering filmmakers, including the early serial producers who incorporated similar special effects in their pictures. Although it ran a mere forty-four seconds long, The X-Rays told a curious story of two Victorian-era lovers (played by Tom Green and Laura Bayley, the wife of the film’s British director George Albert Smith), who are courting on a park bench. A mysterious man appears, holding in his…

W is for What Happened to Mary

W …is for What Happened to Mary   The film serial form can be traced back to the early twelve-part Edison Company production What Happened to Mary, whose first installment was released on July 26, 1912. Though more accurately considered a series rather than a true serial, Mary employed a narrative line that was composed of a distinct beginning, middle, and end; and its dozen one-reel episodes, like those of early serials, were filled with considerable physical action and suspense. But those episodes were autonomous and lacked the sequential continuity that came to define the serial genre. Edison’s production had…

V is for The Voice on the Wire

V …is for The Voice on the Wire   Full of suspense and violence, The Voice on the Wire (1917) was the rare serial whose story line became even more interesting as it progressed. Detective John Shirley has been trying, unsuccessfully, to end a crime wave of inexplicable murders that always seem to follow warnings imparted by a mysterious voice over the telephone. Meanwhile, the “Black Seven,” a psychical-research group in Paris, have been holding secret meetings to advance their curious theories of life and death. In an attempt to prove their theory of “The Living Death,” one of the…

U is for Under the Crescent

U …is for Under the Crescent   Released in 1915, Under the Crescent—written by Nell Shipman, directed by Burton L. King, and produced by Carl Laemmle—depicted the sensational adventures of an American actress in Egypt. As its promotional materials and ads claimed, the six-part dramatic serial was based on the life of popular stage performer Ola Humphrey, who also starred in the serial. The plot included considerable, if sometimes convoluted, foreign intrigue. An actress who is performing at an opera house in Cairo becomes the object of the infatuation of two men: Egyptian Prince Ibrahim Tousson and American Stanley Clyde.…

T is for Tarzan the Mighty

T …is for Tarzan the Mighty     But after Bonono fractured his leg and incurred other injuries, Merrill replaced him. That re-casting was, in some ways, fortuitous: an expert gymnast, Merrill was skilled in rope climbing, parallel bars, and other athletic feats, so the role proved a natural one for him. In fact, it was he who first brought Tarzan’s now-legendary vine-swinging to the screen—a stunt that became a staple of subsequent Tarzan films.     Tarzan the Mighty retold the familiar story but made some changes to the earlier adaptation. In the serial, Tarzan, whose parents had died…

S is for The Shielding Shadow

S …is for The Shielding Shadow   Many of the conventions that have become commonplace in modern films and television programs hark back to early serials; and the “cloak” or “mantle” of invisibility is no exception. It is, in fact, the recurring motif in The Shielding Shadow (1916), a fifteen-part serial produced by Astra and distributed by the Pathé Exchange. An American/French collaboration, it was directed by cinema pioneer, the French-American film director, producer, screenwriter, and former stage actor Louis J. Gasnier, and American actor and director Donald MacKenzie. Gasnier and MacKenzie had first worked together in 1914 on The…

R is for Ruth of the Rockies

R …is for Ruth of the Rockies   A fifteen-part Western serial, Ruth of the Rockies (1920) was produced by and starred Ruth Roland, one of the original early serial actresses, considered by many to be the strongest successor to “serial queen” Pearl White. Directed by George Marshall, written by Frances Guihan, based on the novel Broadway Bab by Johnston McCulley, with an uncredited scenario by expert scenarist Gilson Willets, Ruth of the Rockies was designed largely to showcase the daring and athleticism of Roland, a true audience favorite.         The serial incorporated many familiar devices and…

Q is for Queen of the Northwoods

Q …is for Queen of the Northwoods   The ten-chapter silent serial Queen of the Northwoods (1929), directed by Spencer Gordon Bennet and Thomas L. Storey, was based on a story by George Arthur Gray. A mysterious masked villain known as the “Wolf Devil” seems intent on terrorizing the community and driving settlers out of the Canadian Northwest territory. Opposing him is Inspector Steele, a Mountie with the Royal Canadian Police, who has been called in to investigate a series of fur thefts and unsolved murders that have occurred in and around the headquarters of the Great Northern Trading Company.…

P is for The Perils of Pauline

P …is for The Perils of Pauline   The Perils of Pauline, a twenty-part serial developed by publishing magnate William Randolph Hearst, produced by Pathé, and released on March 23, 1914, is likely the best-known serial picture in silent cinema history. Directed by Louis J. Gasnier and Donald MacKenzie, it was based on a screenplay by veteran screenwriters Basil Dickey and Charles W. Goddard (who also wrote the novel). The plot was both basic and, at times, outlandish. Pauline, a beautiful, wealthy young heiress, is in love with handsome Harry Marvin, the son of her adopted father and guardian, the…

O is for The Oregon Trail

O …is for The Oregon Trail   Universal, which had earned acclaim for its historical serials, released three in the year 1923 alone. Around the World in 18 Days, based on Jules Verne’s novel, was of special interest because it updated the story by introducing the character of Phineas Fogg III (grandson of Verne’s original world-traveler Phineas) and incorporating the latest modern inventions, including planes, express trains, speed boats, and submarines. In the Days of Daniel Boone reimagined Boone fighting both Tories and Indians as he tried to establish a colony on the frontier prior to the Revolutionary War; and…

N is for Neal of the Navy

N …is for Neal of the Navy         Survival Status: Presumed lost. Directors: William Bertram, W. M. Harvey Release Date: September 2, 1915 Release Company: Balboa Amusement Producing Company, distributed by Pathé Exchange, Incorporated Cast: William Courtleigh Jr. (Neal Hardin), Lillian Lorraine (Annette Illington), William Conklin (Thomas Illington), Ed Brady (Hernandez), Henry Stanley (Ponto), Richard Johnson (Joe Welcher), Helen Lackaye (Mrs. Hardin), Bruce Smith (Captain John Hardin), Charles Dudley. Episodes: (two reels each) 1. The Survivors. 2. The Yellow Packet. 3. The Failure. 4. The Tattered Parchment. 5. A Message from the Past. 6. The Cavern of…

M is for The Mysteries of Myra

M …is for The Mysteries of Myra While Carrington supplied most of the supernatural story lines, he derived many of his ideas from noted occultist, ceremonial magician, and novelist Aleister Crowley, who at one point visited the Wharton set during the filming, likely at Carrington’s invitation. The serial’s Black Order that menaces the heroine and hopes to precipitate her death was clearly modeled on the “Hermetic Order of the Golden Dawn,” a so-called mystical organization of which Crowley was a member. Similarly, the secret “thumbs up” sign used throughout the serial derived from the organization’s rituals. The eponymous heroine Myra…

L is for Lucille Love, the Girl of Mystery

L …is for Lucille Love, the Girl of Mystery   Overhearing a phone call between Hugo and the butler, Lucille learns of their devious plot. Knowing that Hugo will soon set sail for the United States, she determines to intervene and reclaim the secret papers, thereby exonerating Gibson. Her search takes her, by sea-plane, to the ship on which Hugo is traveling. But although Lucille is able to access the papers, the ship explodes and everyone is thrown overboard. So begins a long and exciting series of chases that take Lucille all over the world—to an island in the South…

K is for King of the Circus

K …is for King of the Circus   Ads highlighted the many thrills of the “Gorgeous 18-Ring Serial Sensation,” which included a fight “with a maneater,” a drop from a blimp high in the air (and a safe landing in a speeding motorboat), and an escape from “the clutches of a maddened elephant.” Not much else, however, is known about the film, which is considered lost. It starred the immensely popular performer Eddie Polo, who had earlier appeared in a similar serial, The Adventures of Peg o’ the Ring ([1915], though reportedly Polo’s role was cut after a disagreement with…

J is for The Jungle Goddess

J …is for The Jungle Goddess   Stanley in Africa (1922), a picturization of the search for the lost Dr. Livingstone, similarly required some rather heavy embellishments with various fictional details and subplots in order to extend the serial. A Dangerous Adventure, released that same year, was plagued by animal attacks and other production problems but nonetheless brought moviegoers into a jungle storm, to a volcano, and into a lion’s pit, a leopard’s cave, a hippo’s swamp, and a tiger’s lair. One of the best jungle serials, however, was William Selig’s The Jungle Goddess (1922), state-righted for distribution by the…

I is for The Iron Claw

I …is for The Iron Claw   Enoch, though, learning of the infidelity, throws his wife out of their home. As further punishment, he seizes Legar (played by Sheldon Lewis), brands his face, and cuts off his arm, an act that Legar avenges by opening the nearby dikes and flooding the plantation. He also kidnaps the Goldens’ young daughter Margery, whom he raises among his den of thieves and schools in crime. Her criminal career, he believes, will serve as a further humiliation to her father, who over the years has become an even wealthier and more prominent man. Legar’s…

H is for The Hazards of Helen

H …is for The Hazards of Helen The Hazards of Helen (1914-1917) was not the first silent serial. Nor was it the best. But it was, without doubt, the longest. At 119 installments of twelve minutes each, it ran for more than two years and featured quick-thinking heroine Helen, an exceedingly capable and clever telegraph operator. No matter how dangerous or dramatic the situation in which she found herself—whether confronting bandits or stopping runaway trains—she resolved it by her own wits, rarely relying upon a man for assistance or protection. There is continuing debate over whether Hazards was actually a…

G is for The Green Archer

G …is for The Green Archer Adaptations of novels and stories by best-selling British author Edgar Wallace were popular in both the silent and sound film eras. British silent versions alone numbered nearly twenty and included such titles as The Man Who Bought London (1916), the first of Wallace’s stories to be adapted to film, The Four Just Men (1921), and Melody of Death (1922).     Valerie Howett (Allene Ray), daughter of Bellamy’s neighbor Walter Howett, is convinced that Bellamy is somehow tied to the disappearance of a woman she believes is her birth mother. So she and her…

F is for The Fates and Flora Fourflush

F …is for The Fates and Flora Fourflush The Fates and Flora Fourflush; or, The Ten Billion Dollar Vitagraph Mystery Serial, the first serial produced by the Vitagraph Company, was released on October 26, 1914. Written by Mark Swan and James Young, it was unusual in several ways. The first way was its length: it ran a mere three episodes, or chapters. The second was its form: a comic parody, it spoofed the detective and mystery stories that were so popular with moviegoers at the time. The Thanhouser Company’s The Million Dollar Mystery, a twenty-three part serial released the previous…

E is for The Exploits of Elaine

E …is for The Exploits of Elaine The Exploits of Elaine (1914) was the first and most successful serial produced by the pioneering filmmakers brothers Theodore and Leopold Wharton. The story of Elaine Dodge, the eponymous and enterprising young heroine who dedicates herself to solving the mystery of her father’s death at the hands of an anonymous villain, Elaine was reportedly the first picture to earn over a million dollars at the box office. And it later became the first serial to be selected for inclusion on the National Registry of Films by the Library of Congress. As Pathé-Hearst’s The…

D is for Dolly of the Dailies

D …is for Dolly of the Dailies Based on a scenario by Acton Davies, the 1914 film serial Dolly of the Dailies (also known as The Active Life of Dolly of the Dailies) was directed by British-born actor and director Walter Edwin. It starred popular actress Mary Fuller, who had appeared as Mary in the milestone series What Happened to Mary (1912), as intrepid heroine Dolly Desmond. After delivering an excellent “graduation oration,” Dolly pens a satirical story about the members of her local Ladies’ Home Sewing Guild, which stirs much controversy and indignation. With her earnings from the story’s…

C is for The Crimson Stain Mystery

C …is for The Crimson Stain Mystery Directed by T. Hayes Hunter and written by Albert Payson Terhune, with a scenario by Otto E. Goebel, The Crimson Stain Mystery (1916) was an early horror serial film. After spending his life developing a machine that will rejuvenate humanity, Dr. Burton Montrose discovers a chemical formula that he believes will transform ordinary people into geniuses. Unfortunately, his formula quickly backfires and turns his subjects into hideous monsters, murderers, and thieves. Under the leadership of “Pierre La Rue” (better known as the “Crimson Stain” because of a distinctive red stain in one of…

B is for Beatrice Fairfax

B …is for Beatrice Fairfax Brothers Theodore and Leopold Wharton were pioneering serial filmmakers who operated their own independent production studio in Ithaca, New York, between 1913 and 1919. After establishing their reputation with their groundbreaking serial The Exploits of Elaine (1914), they cemented it with subsequent serial pictures such as The Mysteries of Myra (1916) and Beatrice Fairfax (1916). Originally titled Letters to Beatrice, the fifteen-part Beatrice Fairfax capitalized on the trend of real-life female reporters, who, as film scholar Ben Singer writes, became familiar, consistent personalities, much like the era’s ubiquitous “serial queens,” and who sought out new…

A is for The Adventures of Kathlyn

A …is for The Adventures of Kathlyn Unlike earlier series pictures, The Adventures of Kathlyn was an actual serial in which the stories were not self-contained but rather sequential, carrying the action over to the next installment. One of its defining elements (and a common element in subsequent serial productions) was the cliffhanger ending, which created what noted Pathé serial writer Frank Leon Smith termed a “holdover suspense.” That meant that the heroine was left hanging—sometimes literally—until the next episode, and so was the audience, who could only guess what the outcome of her adventure might be. Starring as the…

Introduction

INTRODUCTION By Barbara Tepa Lupack Although derided or dismissed by some film critics today, serial motion pictures, or “serials,” played a vital role in early cinema history. Typically two-reel thrill-packed films that ran for ten, fifteen, or more installments, they often ended with a cliffhanger that left the heroine or hero in a perilous situation and a promise to the audience “to be continued next week.” Episodically structured and suspensefully plotted, serials served as precursors of the popular installment dramas and crime procedurals that have become staples of modern network and cable television programming. By teasing their narratives in clever…

Introduction

AN INTRODUCTION TO EARLY RACE FILMMAKERS The most significant and influential early race filmmakers were the Johnson Brothers (Noble and George Johnson), Oscar Micheaux, and Richard E. Norman. But there were numerous other producers, many of them now forgotten or understudied, who also made valuable contributions to the race film industry and to American cinema history.     UP NEXT: William Foster, a.k.a. “Juli Jones”    1.  Chester J. Fontenot, Jr., “Oscar Micheaux, Black Novelist and Film Maker,” in Vision and Refuge: Essays of the Literature of the Great Plains, ed. Virginia Faulkner and Frederick Luebke (Lincoln: University of Nebraska, 1982),…

William Foster

WILLIAM FOSTER, a.k.a. “JULI JONES”  (1884-1940)   The cake walk was a popular feature of some of the musical stage shows and early silent films. This example is from the 1903 Edison film Uncle Tom’s Cabin.     Foster had great hopes for black filmmakers and believed that “in a moving picture the Negro would off-set so many insults of the race—could tell their side of the birth of this great race.” So, he argued, it was the responsibility of the “Negro businessman . . . [to] put his race right with the world.” [2] As he had noted earlier in…

Dr. Emmett J. Scott

DR. EMMETT J. SCOTT  (1873-1957) The Birth of a Race Film Company   The entire film of The Birth of a Nation (1915) runs just over three hours.   Together with Booker T. Washington, Scott had been seeking a way to get involved in a black-controlled film production. Both men already knew something about movies from negotiations over the rights to shoot motion pictures on the Tuskegee campus. (D. W. Griffith, in fact, had at one point expressed interest in rights to old campus footage that he intended to use in a conciliatory prologue that he proposed to add to The…

Noble and George Johnson

NOBLE AND GEORGE JOHNSON The Lincoln Motion Picture Company     In fact, as Jane Gaines writes[4], the implication is that every “Shiftless Joe” can be reformed and can better himself personally and socially, particularly if he adopts the values of the black middle class. The film played to capacity houses from Chicago to the West Coast. And in 1917, after both films were shown at the Tuskegee Institute, the Tuskegee Student raved that “such pictures as these are not only elevating and inspiring in themselves, but they are also calculated to instill principles of race pride and loyalty in…

Frederick Douglass Film Company

FREDERICK DOUGLASS FILM COMPANY   The company’s second film, also released in 1917, was The Scapegoat, an adaptation of “The Scapegoat” by the distinguished black writer Paul Laurence Dunbar. In Dunbar’s story, which is told in two parts, Robinson Asbury is an ambitious young black man who goes from bootblack to barbershop owner and eventually to lawyer. “The big Negro of the district and, of necessity, of the town [of Cadgers],” Asbury gains the patronage of local politicians, who believe that he will be useful to them in mustering black votes. But when the “fevers of reform” threaten the politicians’…

Reol Productions

REOL PRODUCTIONS   The film’s ending is thus more upbeat than the novel’s, in which Berry and Fannie—having nowhere else to go—return to their cottage on the Oakley property. “It was not a happy life,” Dunbar writes in the novel, “but it was all that was left to them, and they took it up without complaint, for they knew they were powerless against some Will infinitely stronger than their own.” As the reviewer for the California Eagle (July 30, 1921) noted, “the thrilling movie taken from Paul Laurence Dunbar’s beautiful Folk Poetry . . . depicts the highest type of…

Small Independents

SMALL INDEPENDENTS By the 1920s, film companies were springing up throughout the country to produce “Negro films” for the proliferating race movie theaters (sometimes called ghetto theaters). Among the black independents were the Unique Film Company of Chicago, whose first and only production was Shadowed by the Devil, a three-reeler based on an original story by Mrs. Miles M. Webb, the wife of the director of the company; the Seminole Film Producing Company of New York, formed by Peter P. Jones (formerly of the Peter P. Jones Photoplay Company), whose uncompleted first production Shadows and Sunshine was adapted from an…

Colored Players Film Corporation

COLORED PLAYERS FILM CORPORATION   Whites were also behind the Colored Players Film Corporation of Philadelphia, which produced four pictures, two of which are extant and are of special interest and significance. Ten Nights in a Barroom (1926), starring Charles Gilpin and Lawrence Chenault, was a black version of a familiar temperance novel, Ten Nights in a Bar-Room, And What I Saw There (1854) by Timothy Shay Arthur (1858) (later adapted as a melodrama for the stage, by William W. Pratt, and as a white film version, Ten Nights in a Bar Room [Oscar Apfel, 1921]), in which Joe Morgan’s…

Oscar Micheaux

OSCAR MICHEAUX  (1884-1951) Micheaux Film Corporation   Sets, of necessity, were usually small in scale; many of the important scenes in God’s Step Children (1938), for example, take place at the foot of a staircase in a friend’s home, a spot that provided the best lighting angles. Especially in the beginning, Micheaux would rent equipment by the day. Retakes were a luxury he could not afford, and editing was minimal: consequently, dialogue flubs and other mistakes such as misspellings of words on title cards and even of actors’ names in the credits are evident in a number of the films. Micheaux’s…

Richard E. Norman

RICHARD E. NORMAN  (1891-1960) Norman Film Manufacturing Company Among his first business ventures was the development of a cola-based drink that he called “Passi-Kola.” With the pharmaceutical expertise and technical support of his druggist father, Richard concocted a formula for what he touted as an ideal beverage that possessed remarkable life-giving power and which he hoped would rival Coca-Cola. Although he managed to interest at least one major business in the product, no deal was ever struck; and ultimately Passi-Kola proved to be a bad investment.   While some of Norman’s earliest traveling movies consisted largely of scenes that showcased community…

";