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1 of 1 people found the following review helpful:
5.0 out of 5 stars
Lights, Action, Camera, September 25, 2009
This review is from: The First Hollywood: Florida and the Golden Age of Silent Filmmaking (Hardcover)
Occasionally an article might appear in Florida newspapers about how Jacksonville at one time was the motion picture capital of America. Of the 30 or so studios in Jacksonville, there was Metro Studios (which became part of Metro-Goldwyn-Mayer). A fat guy named Oliver Hardy came down from Georgia to perform either as a villain or in a comic role. This was ten or more years ago before he was paired with Stan Laurel. The city's greatest architect, H. J. Klutho, helped to rebuild the city after its great fire of 1901 (the worst in the Southside), but Klutho went broke trying to run, or rent out, his own studio. Shawn Bean tracks the film career of Richard E. Norman, who turned to making films solely for African American audiences. He purchased the bankrupt Eagle Studios and made feature films there until sound came in. In fact, the Norman Studios buildings still exist and are the ONLY silent film studio complex still standing. Bean tracks why Jacksonville, in effect, rejected its chance to become "Hollywood." The conservative town's ministers objected to shoot-em-ups being shot on Sundays downtown; the citizens tired of false fire alarms being called in just to so a company could film the trucks bursting out of the fire stations. A 1917 election campaign between pro-film candidate J.E.T. Bowden and future governor John Wellborn Martin convinced many studios that it might be better to join their colleagues in some little town out in Southern California. Howard Denson North Florida Writers Jacksonville, FL
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5.0 out of 5 stars
How Florida almost beat Hollywood to the punch, February 27, 2009
This review is from: The First Hollywood: Florida and the Golden Age of Silent Filmmaking (Hardcover)
I was lucky to meet this book's author, Shawn C. Bean, at a recent lecture in Ponte Vedra Beach, Florida, where he amply demonstrated the storytelling skills required to pull off such a book. (Admission: I live in Jacksonville, Florida, where much of the book's story took place.) The book itself is concise, fascinating reading about how Jacksonville's infamous 1901 fire paved the way for architects to come to Jacksonville and build structures in different styles, causing moviemakers to realize that sunny Florida could double for tropical and adventurous settings throughout the world. Bean points out how precursors of big-name studios (such as 20th Century-Fox and MGM) first established ground in Florida, as well as the one-time Southeastern movie industry crumbled under the weights of corruption and Victorian-era bluenosing. Finally, the book details how Florida got its final shot as a movie giant by making movies with all-black casts and stories -- ironically, under the direction of a white filmmaker, and in a part of the country that proudly declared its Jim Crow policies. For anyone interested in early film history, this breezily written book is a must.
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0 of 1 people found the following review helpful:
4.0 out of 5 stars
Insight into Jacksonville history, April 10, 2010
This review is from: The First Hollywood: Florida and the Golden Age of Silent Filmmaking (Hardcover)
As someone who has lived in Jacksonville for 20 years, I enjoy learning about the city's (surprisingly) complex history. The book is generally well written, and Bean does a good job picking out some of the significant threads of the city's involvement with the silent film industry. Even though I knew beforehand that Jacksonville was "the first Hollywood," I was surprised to learn that luminaries such as Oliver Hardy, Mary Pickford, and the Barrymores passed through Jacksonville on their way to fame and fortune. More recently, even Mel Brooks was here trying to get his career off the ground with what would become The Producers. While the book does offer wonderful glimpses of a part of Jacksonville's past, I was left a little disappointed at aspects of the story that were left untold or only partially touched upon: what were the political forces shaping the studios' decisions to leave for California? To what extent was the development of San Jose Estates an attempt to lure the industry back? Perhaps there is more to be written on the subject. Still, to anyone interested in this part of Jacksonville's or Hollywood's history, this is well worth reading.
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