United Artist

1506 words, 7 pages

Intro Sample...


It was January 1919, and explorers and idealist were developing a future free from war. In Hollywood, there were no limitations to the common mans dreams. In the years since 1914, so many predictions had come into view and none less than that of the picture business which could boldly make feature length films in the hopes that an people would sit still to watch it in its entirety. Due to the war, American people fall in love with movie stars such as, Charlie Chaplin Mary Pickford, Douglas Fairbanks. They also fell in love the directors such as D.W. Griffith and Charlie Chaplin, who began to tell elaborate stories.

Around the same time, the movie business was in disarray. All over the country, movies were... View More »

Body Sample...


It should work in a good way to allow them to tell their stories without too much outside obstacle.

In the first couple of years, the future of United Artist was very uncertain. The company at times had only a few number of movies, and it did not even see any profits until the later part of 20s. One of the major contributing factors to that was the inability of Chaplin to oblige to the new idea. Initially, Chaplin chose to stick to his deal with First National, as a result, The Kid and The Pilgrim was not awarded to United Artist. The first film he did for the new company was A Woman of Paris (which was not a big hit). It was not until The Gold Rush that Chaplin eventually started working for the company.

The reputation of United Artist began to grow. The company was improved by Joseph Schenck ,who had great success in the making the majority of the Buster Keaton movies. Through the late 20s, United Artist had claims to such films as, The General, The Gaucho, and Sadie Thompson.

These were the glory days. In the mid-1930s, UA was reporting profits of over a million dollars a year. Keaton had faded away. Fairbanks and Pickford were well past their prime. But Goldwyn was flourishing. Chaplin made City Lights (1931) and Modern Times (1936), and UA benefited from such newcomers as Howard Hughes (Hell's Angels, 1930) and Alexander Korda, producing in England but breaking into the American market with The Private Life of Henry VIII (1933), The Scarlet Pimpernel (1934) and Things to Come (1936). In addition, UA handled the short films of Walt Disney and concluded a ...

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