| Black Friday | |
| Director: | Lloyd B. Carleton |
| Producer: | Red Feather |
| Screenplay: | E. Magnus Ingleton |
| Starring: | |
| Cinematography: | Roy H. Klaffki |
| Runtime: | 50–75 minutes (5 reels) |
| Country: | United States |
| Language: | English intertitles |
Black Friday was a 1916 American silent Feature film directed by Lloyd B. Carleton. Universal based the film on the novel written by Frederic S. Isham and adapted for the screen by Eugenie Magnus Ingleton. The drama stars Dorothy Davenport, Emory Johnson, and a cast of Universal contract players.
The story revolves around Railroad tycoon Richard Strong. He discovers his enemies are scheming to bankrupt him. Strong enlists the help of Charles Dalton, and together they foil the plot. While working with Strong, Dalton meets Strong's wife, Elinor. Along the way, Dalton develops feelings for Elinor. Time passes, and he tries to seduce her. Elinor rejects Charles's advances and returns to Paris. Strong believes she has committed adultery but follows his wife to Paris, but they miss connections. They meet again in New York, and all ends well.
Universal released the film on September 18, 1916.
The opening scenes take place in a church. All the characters gather for the wedding of Richard Strong to Elinor Rossitor. Strong is a railroad president, known to be honest and down-to-earth. Elinor is a poor but refined visionary with dreams of wealth and status. Strong's rugged, austere nature is at odds with her warm and romantic personality, and this clash of temperaments will come back to haunt them in the future. The ceremony takes place; they wed the two, and the new couple plans a romantic honeymoon in Paris.
Rivals of Richard Strong are attempting to ruin him financially. When he leaves on his honeymoon, his enemies will carry out their scheme. They plan to issue false reports about dealings with his companies. They also plan to corner the gold market. The plan's details include bribing certain Washington officials, inducing them to send a fake telegram to President Grant. The telegram will implore the President to leave Washington to attend an event. Thus, in his absence, he cannot order the sale of gold.
One of Strong's clerks overhears part of the plan. While Strong and his wife are getting ready to leave on their honeymoon, the clerk gives him a tip about the nefarious undertakings of his rivals. Strong believes the threats are spurious and ignores the warnings. They depart for Paris.
While in Paris, more telegrams arrive, and Strong can no longer ignore the threats. He must return home. This widens the emotional chasm between Strong and his wife. After all, he is heading back to New York in the middle of their honeymoon. The couple embarks on their trip to New York. His clandestine return to New York works, and he arrives before his enemies even suspect his return.
With the help of Charles Dalton, he thwarts their plans. As a reward, Strong hires Dalton to be his assistant. While working with Strong, Dalton becomes acquainted with his wife. She becomes friendly with Dalton, and he gives her the emotional support she so desperately needs. One night, things go too far, and he tries to seduce her. She rebuffs him, and they both go their separate ways. Elinor refuses to see Dalton anymore. Dalton is craving some emotional connection and yields to the charms of his wife, Zoldene. The couple had separated when she found out he had no money.
In the meantime, Strong discovers what he thinks is the affair his wife was having with Dalton. He accuses them both of adultery. He becomes estranged from both.
Elinor decides she must escape all the intrigue at home. Along with her father, Edwin, she returns to Paris. Her father's health is fading. Strong and President Grant schedule a meeting. They met, and afterward, the President directs the Treasury to sell gold. The move shreds the last glimmers of hope for his enemies. The gold-selloff makes millions for Strong.
Edwin Rossitor's health worsens in Paris, and he wants to return to the states. Elinor wants to help him return, but she worries about the danger posed by the riots associated with the Paris Commune. Edwin wires Strong and asks him to travel to Paris to help them. When Strong arrives in France, he can find no trace of either party.
One night, as he watches a mob, he finds out Elinor is the center of the disturbance. He tries to rescue her but ends up unconscious in an alley. Later, in his hotel room, he regains his senses. Elinor is nowhere to be found.
Charles Dalton and Zoldene are also in Paris at the same time. Dalton asks Strong to pay him and his wife a visit. He swears to Strong nothing ever happened between him and his wife, Elinor. This time, Dalton convinces Strong he is telling the truth.
Strong walks away from the talk, relieved, but now believes Elinor no longer cares for him. He sadly returns to New York alone. He pays a visit to the old address and takes one last glimpse of the home to his strained marriage. As chance would have it, Elinor was also passing by the home searching for memories. They see each other, they pause, their eyes meet, and he tells her he will always love her. She looks deeper into his eyes and tells him she never stopped loving him. It rekindled their romance; they walk off hand-in-hand.
| Actor | Role | |
|---|---|---|
| Richard Morris | Richard Strong (Railroad President) | |
| Dorothy Davenport | Elinor Rossitor (Richard Strong's wife) | |
| Emory Johnson | Charles Dalton (Richard Strong's friend) | |
| Mary Maurice | Mrs. Rossitor (Elinor's mother) | |
| Wilfred Rogers | Edwin Rossitor (Elinor's father) | |
| Gretchen Lederer | Zoldene (Dalton's wife) | |
| Mark Fenton | Jim Fisk | |
| Edith Hallor | Isabelle Hamlin / Rose Hamlin | |
| Virginia Southern | Posie Stanton |
In the book, "American Cinema's Transitional Era," the authors point out, One aspect of this transition was the longer duration of films. Feature films were slowly becoming the standard fare for Hollywood producers. Before 1913, you could count the yearly features on two hands. Between 1915 and 1916, the number of feature movies rose times or from 342 films to 835. There was a recurring claim that Carl Laemmle was the longest-running studio chief resisting the production of feature films.[1] Universal was not ready to downsize its short film business because short films were cheaper, faster, and more profitable to produce than feature films.
Laemmle would continue to buck this trend while slowly increasing his output of features.In 1914, Laemmle published an essay titled - [2] In 1916, Laemmle ran an advertisement extolling Bluebird films while adding the following vocabulary on the top of the ad.Universal made 91 feature films in 1916, including 44 and 47 productions.
This film was labeled with Universal's brand, indicating it was a low-budget feature film.
Black Friday is set during the presidency of Ulysses S. Grant. Grant was the 18th president of the United States, serving from 1869 to 1877. The movie title is based on the Black Friday scandal that initiated the gold panic of 1869. The actual date for Black Friday was Friday, September 24, 1869, when President Grant started selling Treasury gold at weekly intervals to pay off the national debt, stabilize the dollar, and boost the economy. This movie is also a period piece taking place during the Gilded Age.
All players in this film were under contract with Universal.
Lloyd B. Carleton (–1933) started working for Carl Laemmle in the Fall of 1915.[7] Carleton arrived with impeccable credentials, having directed some 60 films for the likes of Thanhouser, Lubin, Fox, and Selig.[8]
Between March and December 1916, 44-year-old Lloyd Carleton directed 16 movies for Universal, starting with The Yaqui and ending with The Morals of Hilda. Emory Johnson acted in all 16 of these films. Of Carleton's total 1916 output, 11 were feature films, and the rest were two-reel shorts.
Carleton was given the task by Carl Laemmle to determine if the Davenport-Johnson duo had the desired on-screen chemistry. In 1916, Carleton directed 13 films pairing Dorothy Davenport and Emory Johnson. This film would be the tenth in the 13-film series.
| Doctor Neighbor | May-1 | L. B. Carleton | Hazel Rogers | Hamilton Powers | Drama | Feature | Lost | ||||||||||
| Her Husband's Faith | May-11 | L. B. Carleton | Mabel Otto | Richard Otto | Drama | Short | Lost | Laemmle | |||||||||
| Heartaches | May-18 | L. B. Carleton | Virginia Payne | S Jackson Hunt | Drama | Short | Lost | Laemmle | |||||||||
| Two Mothers | Jun-01 | L. B. Carleton | Violetta Andree | 2nd Husband | Drama | Short | Lost | Laemmle | |||||||||
| Her Soul's Song | Jun-15 | L. B. Carleton | Mary Salsbury | Paul Chandos | Drama | Short | Lost | Laemmle | |||||||||
| The Way of The World | Jul-03 | L. B. Carleton | Beatrice Farley | Walter Croyden | Drama | Feature | Lost | ||||||||||
| No. 16 Martin Street | Jul-13 | L. B. Carleton | Cleo | Jacques Fournier | Drama | Short | Lost | Laemmle | |||||||||
| A Yoke of Gold | Aug-14 | L. B. Carleton | Carmen | Jose Garcia | Drama | Feature | Lost | ||||||||||
| The Unattainable | Sep-04 | L. B. Carleton | Bessie Gale | Robert Goodman | Drama | Feature | 1 of 5 reels | ||||||||||
| Black Friday | Sep-18 | L. B. Carleton | Elionor Rossitor | Charles Dalton | Drama | Feature | Lost | ||||||||||
| The Human Gamble | Oct-08 | L. B. Carleton | Flavia Hill | Charles Hill | Drama | Short | Lost | Laemmle | |||||||||
| Barriers of Society | Oct-10 | L. B. Carleton | Martha Gorham | Westie Phillips | Drama | Feature | 1 of 5 reels | ||||||||||
| The Devil's Bondwoman | Nov-11 | L. B. Carleton | Beverly Hope | Mason Van Horton | Drama | Feature | Lost | ||||||||||
The story for this movie was based on the novel "Black Friday" by Frederic S. Isham (1865–1922). He was years old when he published Black Friday and when it was released as a film.
The storyline for the novel was rooted in the American financial crisis of 1869. The book was published in Indianapolis in 1904 and the movie was produced by arrangement with the novel's publisher, Bobbs-Merrill Company[9]
The story was scenarioized by Mrs. E. Magnus Ingleton (-1936). She was years old when she created the screen adaption for this film. She was a British screenwriter, actress, and war correspondent.[10]
The theatrical release of this film totaled five reels or 5,000 feet of film. As is often the case, the listed time for this feature-length movie varies. The average time per 1,000-foot 35mm reel varied between ten and fifteen minutes per reel at the time. Thus, the total time for this movie is computed between fifty and seventy-five minutes.[11]
The interiors were filmed in the studio complex at Universal Studios located at 100 Universal City Plaza in Universal City, California. Universal produced and distributed this film.
The copyright was filed with U.S. Copyright Office on August 26, 1916,[12] and entered in the record as shown:
In 1916, movies were always released on Mondays.[13] This film was officially released on Monday, September 18, 1916.
Advertising plays a vital role in ensuring a movie's success by bringing paying customers to the theater. By providing details about plotlines, actors, release dates, and other key information, a successful marketing campaign boosts excitement among potential stakeholders.This knowledge empowered theater owners to make smarter booking decisions in a competitive market. In addition to an advertising campaign for a movie, Carl Laemmle added another wrinkle to assist potential stakeholders in deciding to view or book a new film.
In 1916, Universal became the first Hollywood studio to classify feature films based on production cost. One of the reasons behind this move was that the Big Five film studios owned their own movie houses, enabling them to have guaranteed outlets for their entertainment products. Unlike the majors, Universal did not own any theaters or theater chains. Branding all Universal-produced feature films would give theater owners another tool to judge the films they were about to lease and help fans decide which movies they wanted to see.
In 1916, Universal produced 91 branded feature films, consisting of 44 and 47 productions. The branding system had a brief existence and, by 1920, had faded away.
This film was the 34th release carrying the designation of Universal's "Red Feather" brand.[14]
The movie critic's reviews of the photoplay were mixed.
In the September 9, 1916 issue of The Moving Picture World, movie critic Robert C. McElravy reviewed the film:[15]
While not adequately handled in the matter of clear and consistent direction, the production maintains a strong interest and has much about it to commend. From the very first scenes, when the characters are introduced at a church wedding, one can feel the beginnings of a story of consequence, and this feeling grows as the action continues. The story as a whole has not a great deal of dramatic strength, but gets away from the beaten path and has the advantage of a pleasing historical background.
In the August 31, 1916 issue of the Wids, the magazine reviewer states:[16]
The story is not particularly powerful and at times is slow with the ultimate ending rather obvious, yet the novel atmosphere will help to carry it through. As a whole, this production will undoubtedly satisfy any average audience because of the unusual atmosphere of it all. It is not an exceptional film, and, in fact, it has many weak spots, but your patrons will come out and say that it was good.
Many silent-era films did not survive for reasons as explained on this Wikipedia page.
According to the Library of Congress, all known copies of this film are lost.[17]