#silversheet

[fibula-rasa]

Stunting Into Stardom

WINNIE BROWN, nameless and unknown, has doubled for all the stars, but now she’s to be a star herself

By Adela Rogers St. Johns

——— ——— ———

from Photoplay, December 1922 

Originally, I had planned for this short article by Adela Rogers St. Johns to be the basis of my recent “How’d They Do That” piece. But, once I started researching Winnie/Winna Brown, I realized that the films I was able to find evidence she worked on are either presumed lost or are inaccessible—so, her stunts are un-gif-able! 

To compound the lack of gif-ability, the Frances Marion project discussed in this article never came to fruition AND assertions that Rogers St. Johns made about Brown’s “discovery” are incorrect.

You can probably understand why I chose a different article about silent stunt performers to analyze!

Despite all that mess, Brown seemed like such an interesting character, I wanted to profile her anyway. My commentary on the article will be highlighted like so and following the article you’ll find a working filmography that I’ve compiled and annotated citations.

Let’s learn about one more of those overlooked, underappreciated dare-devils of silent cinema!

——— ——— ———

WINNIE BROWN!

——— ——— ———

First things first: Winnie Brown was also known as Winna Brown. Over the course of Brown’s career, which started sometime around 1913, she was variously referred to as Winna and Winnie (possibly shortened from Winona).

——— ——— ———

Maybe you never heard tell o’ Winnie Brown.

Maybe that name doesn’t come inside your recollection at all.

But I want you to know about Winnie Brown. For the days of the old west, the picturesque old west that held more color and more fascination than any part of this country has ever held, is disappearing.  And Winnie Brown is one of the last of its real inhabitants.

Winnie Brown, the greatest living cowgirl. The best stunt rider and broncho buster and horse wrangler that ever put on chaps. The idol of the real cowboys. The winner of rodeos and exhibitions from Cheyenne to Oklahoma.

READ on BELOW the JUMP!

——— ——— ———

I don’t know Brown’s rodeo record, but I do know that she competed in or performed at rodeos in New Mexico, Arizona, and California. One of which, in Los Angeles, was committed to film for When Quality Meets (1915). Yes, they did actually “shoot the rodeo.”

——— ——— ———

Winnie Brown, to whom the motion picture fans owe so many thrills and whose face has never been seen before a camera. Who has done some of the most daring and difficult scenes the silversheet has ever recorded but whose name has never appeared on the screen.

——— ——— ———

Brown’s film career may have begun in New Mexico or California—she was an active part of both rodeo scenes by 1913. Later in this article, Rogers St. Johns claims that Frances Marion “discovered” Brown. However, it was another woman film pioneer, Dot Farley, who most likely gave Brown her first break.

Sometime round about 1913, a film unit was formed by Farley and Gilbert P. Hamilton called The Albuquerque Film Company, associated with Warner. They produced shorts and features—most of them starring Farley and based on her original scenarios. From contemporary news items, it seems like Brown was part of the crew from the start—not solely as a stunt performer, but also as an actor and prop master.

In fact, in one of their 1914 releases, Reuben’s Busy Day, Brown is the feminine lead:

Production still featuring Brown in Reuben's Busy Day from Moving Picture World, 14 November 1914

It’s no great mystery why, if you were printing a puff piece repackaging a reliable woman stunter as a fresh, new star, you wouldn’t want to talk about how she had already been a featured player nearly a decade prior!

——— ——— ———

But who at last is to come into her own and play not only the “stunt scenes” but the whole star part of a real cowgirl in a real western story.

You remember, maybe, times when you’ve seen the serial star race her horse alongside a train going 40 miles an hour and then leap from her saddle to the rear rail of the observation car—or maybe jump her pony down a 100-foot cliff. 

Ten chances to one, that was Winnie Brown.

Perhaps you have sat in your comfortable theater seat and seen the persecuted ingenue jump from the ninth story of a burning building—actually jump right out into space where no net was visible.

Winnie Brown!

And the lovely star who rode, perhaps, a whirling, threatening jam of logs down the dark and dangerous rapids of a great river—

That, too, was Winnie Brown.

Photo caption: Frances Marion, who discovered Winnie Brown, is shown at the right, discussing stardom with the stunt girl. Miss Marion is now making the first Winnie Brown picture

The most daring, reckless, skillful double, the movie game has ever known, that’s what, Winnie Brown has been.

There’s hardly a great star in the game today for whom Winnie Brown hasn’t doubled. There’s hardly a piece of wild and death-defying business that Winnie hasn’t performed.

Yet to her audiences she has been nameless, faceless, unknown.

When she has gone to see herself upon the screen it has been in the clothes and under the name and mask of some other woman. The credit for her work has gone elsewhere.

——— ——— ———

There’s a charming news item that floated around in 1923 of Brown being an unexpected double for the uber-glamorous Pola Negri in Bella Donna (1923). While Brown was very well-suited to perform the horse stunts, she struggled with the fancy costume. She supposedly remarked:

“I’m more scared o’ them dresses ‘n I ever was o’ any stunt.” from Photoplay, May 1923

Pola Negri in a production still for Bella Donna

——— ——— ———

“That don’t matter none,” said Winnie Brown, turning her fine, dark eyes on me, “I got the mazuma. An’ don’t say too much about the doublin’ part. Most o’ these here stars don’t like for folks to know they use a double. An’ o’ course it ain’t their fault most o’ the time they do—it’s the company makes ’em. If I bust a coupla o’ ribs or a laig or two, it don’t make no difference. I got a swell doctor and he fixes me up cheap. But if one o’ them fancy stars gits mashed up or her face scratched, it costs the company a whole wad o’ spondolicks.

“Most o’ the girls I’ve doubled for would have been willin’ to tackle it themselves all right, only the company wouldn’t hear to it, and besides, those skirts ain’t got the trainin’.”

——— ——— ———

Some of the stars Brown was reported as doubling for in addition to Negri are Priscilla Dean (in Siren of Seville (1924)), Norma Talmadge, Lois Wilson, Colleen Moore, Bebe Daniels, Corinne Griffith, and Marie Prevost. So far, which films starring most of these women Brown doubled for are still a question mark for me. Horses were Brown’s obvious specialty, but she also performed automobile and train stunts as well as the odd aquatic bit. That cowpoke had the range!

Siren of Seville is extant but not easily accessible at the moment, but these production photos on alamy caught my eye. Unfortunately, Brown and Dean actually resembled each other, so you add that with the fact that Brown would be made up as Dean to double for her, and it’s honestly kind of hard to tell if it’s Dean or Brown in these photos. So, Imma include them nonetheless.

Behind the scenes photos from Siren of Seville

——— ——— ———

Winnie has donned the grease-paint and become a western leading lady. 

Winnie is going to play the leading role in a real western picture, written specially for her. You are going to see a real cowgirl in action. And there are more real stunts in this picture than were ever written into one script before. 

“Reckon she’ll have to have a double herself, ‘fore she gits through,” said Soupstrainer gravely.

Frances Marion is the discoverer of Winnie Brown. Miss Marion, for a number of years scenario writer and director for Mary Pickford, and now scenarioist for Norma and Constance Talmadge, discovered Winnie when she went to look at some horses. And she decided to give her a chance on the screen.

——— ——— ———

As I mentioned earlier, it was more likely Dot Farley who “discovered” Brown, so this doesn’t necessarily have the ring of truth to it. Marion’s husband was Fred Thomson, who was also a cowboy stunter. It’s likely Brown and Thomson worked together before 1922. Marion herself had given Thomson the boost to stardom while she was collaborating closely with Mary Pickford in 1921. The project hyped in this article was intended to co-star Brown with Thomson. It was to be titled “The Law of Life” and was initially slated to be directed by George Hill.

——— ——— ———

So Winnie Brown has become a motion picture actress.

“Do you like it?” I asked, when I had climbed to a seat beside her on the rail fence.

“Reckon I do. Course I’m scared plumb to death. Long’s I can stay by a hoss, I’ll git by all right. I’ve always wanted to take a chance on actin’.” 

——— ——— ———

☕ Appreciate my work? Buy me a coffee! ☕

——— ——— ———

Working Filmography for Winna/Winnie Brown:

The Prairie Trail (1913, short) [source(s): Variety, 31 October 1913]

Campaigning with Custer (1913, short) [source(s): Motion Picture Story, December 1913]

Reuben’s Busy Day (1914, featured role) [source(s): Moving Picture World, 14 November 1914]

Captain Courtesy (1915, character role: “Indian Servant”) [source(s): The Billboard, 10 April 1915; Variety, 16 April 1915; Moving Picture World, 17 April 1915; Motography, 24 April 1915; Moving Picture World, 25 January 1919; Motion Picture News, 1 February 1919]  

Aunt Matilda Outwitted (1915, possible character role) [source(s): Moving Picture World, 5 June 1915]  

When Quality Meets (1915, character part) [source(s): Motion Picture News, 5 June 1915; Motion Picture News, 19 June 1915; Moving Picture World, 10 July 1915]

The Law of Life (1923, unfinished) [uncompleted Frances Marion, Fred Thomson, George Hill production. source(s): Motion Picture News, 5 August 1922; Photoplay, May 1923]

Bella Donna (1923, double for Pola Negri) [Photoplay, May 1923; Pictures and the Picturegoer, June 1923; Picture-Play Magazine, September 1923]

The Eagle’s Feather (1923, character role) [Camera, 23 June 1923]

The Siren of Seville (1924, double for Priscilla Dean) [Le Film, April 1926]

Maybes:

Even Unto Death (1914)

Any of the films made by the Albuquerque Film Company involving Dot Farley between 1913 and 1916 likely featured work from Brown in some capacity. While this film  is noted on Brown’s imdb page, I couldn’t locate a contemporary source that named Brown or described a feminine role of Brown’s type.

Hearts and Saddles (1917) and/or A Roman Cowboy (1917)

When Tom Mix left Selig and signed a contract with Foxfilm in 1917, some of his first films there were reportedly shot at Brown’s ranch in Silver Lake, California. These were Mix’s first two films for Foxfilm and may have been fully or partially shot on her property. Whether or not Brown contributed to the films beyond leasing her property to Fox remains to be seen, but it’s probable. Brown is quoted in an article in Photoplay from November 1927 stating that she stunted for Mix in the past, though the stunt she mentioned involved a train trestle and neither of these films contain train stunts (based on their copyright descriptions preserved by The Library of Congress).

Also potentially filmed on Brown’s ranch:

One Touch of Sin (1917) Moving Picture World, 20 January 1917 [implies this was shot at one of Fox’s “west coast studios,” followed by the news item about Mix moving in]

Fires of Conscience (1916) Motography, 23 September 1916 [mentions Silver Lake locale]

As yet unidentified work:

A Tom Mix film where a woman performs a stunt on a train (potentially jumping from a horse onto a moving train). Since Brown previously worked in New Mexico and Mix was working all over the west (including NM) before 1917, there are a lot of possibilities here. [Photoplay, November 1927]

Double work for Norma Talmadge, Lois Wilson, Colleen Moore, Bebe Daniels, Corinne Griffith, and Marie Prevost

——— ——— ———

Citations Chronologically (with minor annotations):

“Film Flashes” in Variety, 31 October 1913 (The Prairie Trail)

Motion Picture Story Magazine, December 1913 (Campaigning with Custer)

“Warner’s to Inaugurate New Service” in Moving Picture World, 14 November 1914 (Reuben’s Busy Day)

“United Film Service Is Now Well Under Way” in Motion Picture News, 12 December 1914

“New Combination of Producers” in Motography, 12 December 1914

“The Albuquerque Company” in Moving Picture World, 10 July 1915

Moving Picture World, 13 February 1915 (listed as part of United Film Service’s roster)

“Farnum in Capt. Courtesy” in The Billboard, 10 April 1915 (Captain Courtesy)

“Dustin Farnum in Captain Courtesy” in Moving Picture World, 17 April 1915 (Captain Courtesy)

“United Film Service” in Moving Picture World, 5 June 1915 (Aunt Matilda Outwitted)

Motion Picture News, 5 June 1915 (When Quality Meets, shot the rodeo)

“One-Reeler Features Messenger Boy” in Motion Picture News, 19 June 1915 (When Quality Meets)

“The Albuquerque Company” Moving Picture World, 10 July 1915 (When Quality Meets)

Motography, 23 September 1916 (Silver Lake ranch mentioned)

“Tom Mix Will Make Foxfilm Comedies” in Motography, 6 January 1917

“Tom Mix Joins Fox Films” in Moving Picture World, 6 January 1917

“Tom Mix Is With Fox Comedy Company” in Motion Picture News, 13 January 1917

Moving Picture World, 17 January 1917 (also Tom Mix)

Moving Picture World, 20 January 1917 (Tom Mix and Gladys Brockwell films on her ranch)

“The Corral” in Billboard, 1 March 1919 (short news item about relocating to Nogales, Arizona)

“United” in Motion Picture News, 5 August 1922 (“The Law of Life”)

“Stunting Into Stardom” in Photoplay, December 1922

“Questions and Answers” in Photoplay, May 1923 (“The Law of Life”)

Photoplay, May 1923 (news item about doubling in Bella Donna)

Pictures and the Picturegoer, June 1923 (Bella Donna) 

“Who’s Who and What’s What in Filmland This Week” in Camera, 23 June 1923 (The Eagle’s Feather)

Picture-Play Magazine, September 1923 (Bella Donna)

“Girls Who Risk Their Lives” in Picture-Play Magazine, March 1925 (article about women stunters, does not cite specific Brown films)

Le Film, April 1926 (article about prominent stunt doubles)

“Risking Life and Limb for $25” in Photoplay, November 1927 (Tom Mix anecdote)

[abstracteddistractions]

Ragna Róbertsdóttir, “Timescape” (2013), 

Silversheet, 2 3/8 x 1 5/8 inches

[defness]

What would you call your current aesthetic?

Silversheet synthesis :]

[erikadaniela91]

Costume elaboration! #Milan #accademiascala #accademiateatroallascala #costumeelaboration #goldsheet #silversheet #glue

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[freesuitwhispers]

Global Health Care Credentialing Software Market Audience, Geographies and Key Players 2020-2026

Summary – A new market study, “Global and United States Health Care Credentialing Software Market Size, Status and Forecast 2020-2026”has been featured on WiseGuyReports.

Global Health Care Credentialing Software Scope and Market Size

Health Care Credentialing Software market is segmented by Type, and by Application. Players, stakeholders, and other participants in the global Health Care Credentialing Software market will be able to gain the upper hand as they use the report as a powerful resource. The segmental analysis focuses on revenue and forecast by Type and by Application in terms of revenue and forecast for the period 2015-2026.

 Market segment by Type, the product can be split into

Cloud Based

Web Based

Also Read: http://www.marketwatch.com/story/global-health-care-credentialing-software-market-size-2020-emerging-trends-industry-share-future-demands-market-potential-traders-regional-overview-and-swot-analysis-till-2026-2020-09-22

 Market segment by Application, split into

Clinical Laboratories

Hospitals

Physicians

 Based on regional and country-level analysis, the Health Care Credentialing Software market has been segmented as follows:

North America

United States

Canada

Europe

Germany

France

U.K.

Italy

Russia

Nordic

Rest of Europe

Asia-Pacific

China

Japan

South Korea

Southeast Asia

India

Australia

Rest of Asia-Pacific

Latin America

Mexico

Brazil

Middle East & Africa

Turkey

Saudi Arabia

UAE

Rest of Middle East & Africa

 In the competitive analysis section of the report, leading as well as prominent players of the global Health Care Credentialing Software market are broadly studied on the basis of key factors. The report offers comprehensive analysis and accurate statistics on revenue by the player for the period 2015-2020. It also offers detailed analysis supported by reliable statistics on price and revenue (global level) by player for the period 2015-2020.

The key players covered in this study

Naviant (OnBase)

MD-Staff

Newport

Silversheet

IntelliSoft Group

OSP Labs

Wybtrak

Bizfluent

Cactus

3WON

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[cindy893]

Health Care Credentialing Software Market Drivers, Growth Prospect and Current Scenario from 2020-2026 | Naviant (OnBase), MD-Staff, Newport, Silversheet

Report’s Significance:

This Health Care Credentialing Software market report consists of Segment wise in-depth determination on the basis of several segments clubbed with market size forecasts and predictions to monitor the main areas of industry development in detail. Moreover, an executive summary, gives details of the entire report in a manner that decision-making team can quickly and vividly get an idea of the background information, summarizing analysis and main conclusions.

Overview:

The latest trending report published by Market Research Globe(MRG) titled, Health Care Credentialing Software Market, anticipates that the Health Care Credentialing Software market size is foreseen to grow at a considerable CAGR in the upcoming years, owing to the growing need for this product across the globe along with novel advancements in the market.

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Key players of the Global Health Care Credentialing Software Market-

Naviant (OnBase)

MD-Staff

Newport

Silversheet

IntelliSoft Group

OSP Labs

Wybtrak

Bizfluent

Cactus

3WON

Types is divided into:

Cloud Based

Web Based

Applications is divided into:

Clinical Laboratories

Hospitals

Physicians

The report Health Care Credentialing Software Market offers a wide scope understanding of the said market based on the product, application and regional divisions. The report possess the present market size of this industry. Furthermore, the outlooks on potential growth and present market summary of this segment has been examined intricately in the report. Additionally, major market players of the Health Care Credentialing Software are analyzed on various aspects such as company profile, product portfolio, sales analysis, revenue generation through the forecast period.

Significant Regions covered in this report:

North America, Europe, China, Japan, Southeast Asia, India, Central & South America

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In conclusion, the market research report renders comprehending insight based on several types and applications. The product types are further collected with the focus area being on the price, revenue, growth rate, market share, etc. Similarly, based on the applications, the report aims the growth rate, market share of Health Care Credentialing Software in each application.

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[fibula-rasa]

Sketch of Billie Burke by Walter Tittle featured in Photoplay, December 1920.

Caption reads:

“Miss Billie Burke, in private life Mrs. Florenz Ziegfeld. The second of PHOTOPLAY MAGAZINE’s series of dry-point etchings of silversheet celebrities by Walter Tittle. 

Next month, Mr. Charles Spencer Chaplin.”

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Silversheet

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【明日の活動について】

防寒対策が必要です！

昨夜から、北東風に変わり泉州地域にもヒンヤリとした風が吹いています。

岸和田市は強風注意報が発令されていますが、明日は終日緩やかな風に変わります。

ここ数日は、初夏の雰囲気が有りましたが、明日の活動は少し肌寒く感じると思います。

防寒をしっかりと対策していただき、御参加して下さい。

明日は地元の方にリーダーを務めていただき、経験豊富な方々がサポートしていただきます。

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ご興味がある方は、見学だけでも大歓迎ですので、気持ち良い青空の下で活動をしましょう！

宜しくお願い致します！

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【SUPPORT YOURE LOCAL STORE】

私達が活動中に頻繁に通る岸和田市内の道沿いには、趣のある銘店が多く有ります。

その中でも、私達の活動に関連する商品を多数取り扱われている”泉州久重"さんが有ります。

先日、ご縁があり、お知り合いになる事が出来ました。

インターネットでは、多くの商品が販売されて、どんな物でも簡単に購入する事が可能で便利です。

ですが、最初から最後までお付き合いが出来るお店で、思い入れの商品を購入してみては如何でしょうか？

他店で購入された商品のメンテナンスなどもご相談可能との事ですので、活動終了後や岸和田に来られた際には、是非お店に行ってみて下さい。

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その輪が広がり、自分達の活動を様々な方々に、認知と理解をしていただける事に繋げていきたいと思います。

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【GO LIBRARY】

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