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Back of Photo:
"NEWS 3/17/89 (Photo by Russ Carmack)
Judy Slaney puts a Mazda decal on the tail gate of a Mazda 4x4 pick-up truck at the Mazda import facility at the Port of Tacoma. Congress is taking a critical look at Foreign Trade Zones to see if they help or hinder the U.S. economy. Port of Tacoma has the second largest Free Trade Zone in the country, and the port officials consider it an important economic development too. Mazda adds accessories and detailing to cars imported from Japan and Korea.


Back of Photo:
"St. Regis - Western Star Paper Machine
Clipping taped to back: "READ ALL ABOUT IT--Seven St. Regis Paper Co. officials, her for this morning's official dedication of the company's $30,000,000 expansion of its Tacoma kraft pulp and paper mill, look over a special 18-page section of The News Tribune, marking the event. Seated, left to right, are Phillip B. Duffy, vice president, the corrugated container division; Reginald L. Vayo, vice president, kraft division sales; and Kenneth D. Lozier, vice president, of advertising and sales promotion, all of New York. Standing are George J. Kneeland, New York, assistant vice president; Russell R. Major, Tacoma, assistant comptroller; John A. McDermott, Jacksonville, Fla., vice president, pulp and paper manufacturing; and Dr. William R. Haselton, general manager of the Tacoma plant."


Tacoma photographer Chapin Bowen described Luther "Dad" Sullins as "a real silk salesman" when he took this portrait of Sullins in Wright Park. Silk was a multi-million dollar business on Puget Sound, as well as in Vancouver, B. C., starting around 1913 and still active in 1927. Raw silk from Japan and China arrived on cargo ships. The delicate raw silk bales were immediately transferred to railroad cars pulled by steam locomotives. The silk trains, carrying multi-million dollar cargos and displaying white flags, had the track right-of-way as they traveled at 80-mile-an-hour speeds to New York and eastern mills. BGN 092.

BOWEN G36.1-226

Adela Rogers St. Johns, on location of "The Patent Leather Kid," March 24, 1927. Striking a relaxed pose, Miss St. Johns wears her helmet tilted as she sits in a director's chair while visiting the filming of "The Patent Leather Kid" at Camp (Fort) Lewis. She wrote the screen adaptation of Rupert Hughes' short story of the same name. Miss St. Johns was a noted journalist and writer who was known for her distinctive, emotional style. A reporter for the Hearst newspapers, she also interviewed celebrated actors for Photoplay magazine, wrote short stories for various periodicals and also wrote many screenplays. She did not restrict herself to a genre but wrote on such varied subjects as the controversial Dempsey-Tunney "long-count" fight, the 1935 Bruno Hauptmann trial, the assassination of Senator Huey Long and the abdication of King Edward VIII of Great Britain. After retiring from newspaper work in 1948, she went on to write books, including her autobiography "Honeycomb," and to teach at a series of universities. Old age did not deter her; she returned to newspaper work at age 82 to report for the San Francisco Examiner on the bank robbery trial of Patricia Hearst. She died at the age of 94 in 1988; she was still working at the time of her death on a book regarding Jesus Christ. (Britannica Online: Women in American History) BGN-163

BOWEN G36.1-215

Arthur Edeson, cameraman, First National Productions' "The Patent Leather Kid," March 29, 1927. Mr. Edeson positions his camera which is mounted on a wheeled cart. He was the director of photography for the film which was lensed on the grounds of Camp (Fort) Lewis. A founder of the A.S.C. (American Society of Cinematographers), he later pioneered location sound photography as the cameraman of "In Old Arizona" (1929). "Stella Dallas,' "All Quiet on the Western Front," " Mutiny on the Bounty ," "They Drive By Night," "Maltese Falcon," and "Casablanca" were just a few of the many films Mr. Edeson worked on. He retired at the age of 58 after a career spanning the silent and sound eras. (Film Encyclopedia, p. 373) BGN-165

BOWEN G36.1-230

Filming of the "Battle of Argonne" war scenes of "The Patent Leather Kid," March 24, 1927, at Camp (Fort) Lewis. "German" soldiers charge down a hill, dodging explosives, while others hunker down in trenches. They would soon be overpowered by the superior numbers of American troops and tanks. BGN-111

BOWEN G36.1-222

Battle of Argonne filmed on location at Camp (Fort) Lewis on March 24, 1927. German troops huddle in trenches behind rock and vegetation barriers as they await the charge of American soldiers during the filming of "The Patent Leather Kid." Camp (Fort) Lewis was apparently ideally suited due to its natural resources as a prime substitute for France and thousands of military personnel were made available for use as extras with the permission of the Army. The location of the "Big Drive," scene of the fierce fighting of the Argonne forest, is almost the exact replica of the famous war sector according to Army technical advisers. BGN-113

BOWEN G36.1-218B

Portrait of Al Santell, director of "The Patent Leather Kid," on location at Camp (Fort) Lewis on March 24, 1927. A jaunty beret and Army-issue jacket protect him from the often inclement weather. Mr. Santell was chosen to helm the war drama starring Richard Barthelmess and Molly O'Day. A San Francisco native, he was a comedy writer, set decorator and occasional actor before directing comedy shorts at the age of 20. He subsequently directed a number of silent and sound films of all types. He is perhaps best known for his film adaptations of Maxwell Anderson's "Winterset" (1936) and Eugene O'Neill's "The Hairy Ape." (1944). BGN-116

BOWEN G36.1-217

Troop of soldiers relax during the filming of "The Patent Leather Kid" on March 29, 1927, on the grounds of Camp (Fort) Lewis. An exceptionally tall soldier certainly stands out in the crowd of his compatriots. These men were probably portraying American foot soldiers in a vivid enactment of the Battle of the Argonne. First National Studio arranged to have the outdoor battle scenes filmed at Camp (Fort) Lewis and thousands of regular USA personnel as well as ROTC units from the University of Washington and 600+ civilians participated in the filming. BGN-117

BOWEN G36.1-218

Actor Richard Barthelmess, writer Adela Rogers St. Johns & director Al Santell on location at Camp (Fort) Lewis during filming of "The Patent Leather Kid, " March, 1927. Miss St. Johns wrote the screen adaptation of Rupert Hughes' short story of the same name. She had arrived in Tacoma on March 22, 1927, to help the continuity of the script. Mr. Barthelmess played the role of a self-centered boxer who learns to face death with the same courage he had faced his ring opponents. He was a Best Actor nominee at the 1927-28 Academy Awards for "The Noose" and "The Patent Leather Kid;" Mr. Hughes also received a nomination for Original Writing. Director Santell was praised by the New York Times critic Mordaunt Hall for bringing out Mr. Barthelmess' flawless acting and while realizing the full pictoral values of his scenes, never permitting them to interrupt the trend of the story. Mr. Santell would go on to direct dozens of silent and sound films of all genres, including The Arizona Kid (1930), Rebecca of Sunnybrook Farm (1932), Winterset (1936) and The Hairy Ape. (1944) BGN-438

BOWEN G36.1-210

Tacoma greets movie stars at the Union Depot. A hearty greeting from the City of Tacoma was offered to the actresses and actors appearing in the H.C. Weaver Productions studio film, "Totem Pole Beggar," on March 5, 1926. Shaking hands with star Wanda Hawley, wearing a voluminous fur coat, is believed to be A.D. Bjornstad. Mr. Bjornstad had attended school with Miss Hawley ten years previously and was currently employed as auditor at the Weaver Studios. The couple is flanked by two city policemen on motorcycles; the police officers are dressed for the cold weather with leather boots, gauntlets with long gloves and thick coats. "Totem Pole Beggar," whose title would later be changed to "Eyes of the Totem," would be the second film produced by the H.C. Weaver Productions studio. It would begin filming on March 8, 1926, and open at the Broadway Theatre on June 10, 1927. (TDL 3-6-26, p. 1)

BOWEN G36.1-234

Eddie Barry & H.C. Weaver on location of "The Patent Leather Kid," March 15, 1927. Mr. Barry was a visiting First National studio executive. Carrying a portfolio, he appears to be in deep conversation with H.C. Weaver, head of H.C. Weaver Productions, Tacoma's local motion picture studio. Later that summer, Mr. Weaver's third film, "Heart of the Yukon," would be opening at the Rialto Theater. BGN-104

BOWEN G36.1-221

Bursting of shrapnel during filming of "The Patent Leather Kid," on March 15, 1927, at Camp (Fort) Lewis. Trenches were dug and explosives laid before filming of the big battle scenes depicting the "Battle of the Argonne." 27,000 similar shrapnel shells were made and stored at Camp Lewis. Thousands of spectators had the opportunity to watch the filming until further into the war manuevers when it was decided that it was potentially too dangerous. Gravel and rocks were strewn over a wide area when the charges of powder exploded. An assistant powderman for First National studios, Walter Holt, was seriously injured in an explosion when a rock badly fractured his skull. He stayed on the job for half-an-hour to set off the complicated explosives before finally collapsing. (TNT 3-25-27, p. 1, TNT 3-16-27, p.1) BGN-103

BOWEN G36.1-227C

Richard Barthelmess & Harry Dillon on set of "The Patent Leather Kid," Camp (Fort) Lewis, March 29, 1927. Harry Dillon was a real-life boxer from Canada who was in Tacoma to defend his light heavyweight crown against Eastern Washington's Fred Lenhart. He was on the set of the First National studio's motion picture, "The Patent Leather Kid," to meet a celluloid boxer, Richard Barthelmess, who is dressed in a doughboy 1917 service uniform with tin hat. Mr. Barthelmess was cordially invited to attend the boxing match on March 31, 1927, at the Greenwich Coliseum. (TNT 3-30-27, p. 10) BGN-118

BOWEN G36.1-228

Silent movie star Richard Barthelmess, boxer Harry Dillon, & Hollywood director Al Santell posed for a picture on location at Camp (Fort) Lewis during the filming of "The Patent Leather Kid" on March 29, 1927. Mr. Barthelmess is dressed in doughboy attire for his role as a boxer who enlists in WWI. Mr. Dillon, a Canadian boxer who was known for his knockout right handed "Static Punch," was in Tacoma for his March 31st title fight against Washington native Fred Lenhart to be held at the Greenwich Coliseum. An invitation was extended to the film "boxer" by the real pugilist to attend the bout and Mr. Barthelmess accepted. Mr. Dillon lost his light heavyweight crown by referee's decision. (TNT 3-30-27, p. 10) BGN-164

BOWEN G36.1-223

Crown Prince & German soldier "Battle of Argonne." Arms akimbo and cigarette in hand, the German "Crown Prince" converses with a soldier from the "German" Army during filming of "The Patent Leather Kid" at Camp (Fort) Lewis on March 24, 1927. Even the wooden sign behind them is in the German language. The war scenes filmed were said to be the most vividly real sequences ever made for the camera. Trenches were dug, barb wire strung and fallen trees and other debris were scattered across the war zone. Thousands of extras, mostly Army personnel, were used to depict the sheer magnitude of the bloody battle. 37 Army and National Guard tanks were used as well as 100 army trucks, 15 ambulances and 15 wagon trains. Four batteries of 75 mm guns, two batteries of 155 mm guns, two batteries of 8-inch howitzers were also utilized. BGN-182


Filming of "Battle of Argonne" scenes - "The Patent Leather Kid," March 24, 1927 at Camp (Fort) Lewis. "German" soldiers beat a hasty retreat back to waiting comrades in trenches as their attempt to battle American troops are thwarted by the presence of 27 whippet tanks. Later scenes would show the tanks hurdling German trenches and fierce hand-to-hand fighting .

BOWEN G36.1-227

Actor Richard Barthelmess & champion boxer Harry Dillon shaking hands on location at Camp (Fort) Lewis, March 29, 1927, during filming of "The Patent Leather Kid." Harry Dillon, a Canadian, was in town to defend his light heavyweight title against native son Fred Lenhart at the Greenwich Coliseum on March 31, 1927. He extended an invitation, which Mr. Barthelmess apparently accepted, to watch the bout. Mr. Dillon lost the match by referee's decision; this brought along a mixed reaction by the packed house. (TNT 3-30-27, p. 10) BGN-119

BOWEN G36.1-233

Ed Barry and Major John McDonnell on set of First National's "The Patent Leather Kid," Camp (Fort) Lewis, March 21, 1927. Ed Barry was a film executive with the First National studio. He is posed with Major John G. McDonnell, who was the supervisor in charge of technical work from the Army's standpoint. The Army, which supplied the film with thousands of active duty soldiers, wanted to be sure that the film was as accurate as possible regarding munitions and machines. (TNT 3-22-27, p. 1) BGN-107

BOWEN G36.1-231

Shell damaged cathedral on set of "The Patent Leather Kid" located at Camp (Fort) Lewis; photographed on April 14, 1927. Desperate German soldiers would hole up in the church that they had attempted to previously destroy. American troops and massive tanks would rout the enemy from the church cemetery although suffering losses by sniperfire from the belfry. Star Richard Barthelmess would kill his nemesis, German General Lucien Prival by bayonet at this location. The cathedral would be blown up by dynamite at the movie's end. BGN-125

BOWEN G36.1-227B

Richard Barthelmess & Harry Dillon at Camp (Fort) Lewis on March 29, 1927 during break in the filming of "The Patent Leather Kid." Still in his doughboy uniform, Mr. Barthelmess shares a moment of conversation with Canadian boxer Harry Dillon who was in town to defend his light heavyweight crown. In "The Patent Leather Kid," Mr. Barthelmess portrays a self-centered boxer who finally enlists in WWI for the love of beautiful Molly O'Day. He was invited by Mr. Dillon to attend the March 31, 1927, match held at the Greenwich Coliseum downtown. Mr. Dillon ultimately lost the bout to southpaw Washington native Fred Lenhart. (TNT 3-30-27, p. 10) BGN-120

BOWEN G36.1-220

Soldiers at attention during filming of "The Patent Leather Kid" at Camp (Fort) Lewis in March, 1927. The filming of this war drama involved the usage of thousands of soldiers from the 4th Infantry (Fort Lawton), 7th Infantry (Vancouver) and ROTC units from the University of Washington. Actual soldiers played screen soldiers on both sides in the First National production, although most of the enemy soldiers were played by the U.W. college students who had to cut their film careers short to return to school after spring break. The studio had to recruit hundreds of extras to replace them. This group pictured above of Imperial German soldiers seems unsure whether all should salute or not. TPL-10377

BOWEN G36.1-232

Actor on location set for "Patent Leather Kid," April 14, 1927, at Camp (Fort) Lewis. This unidentified actor leans against the archway of the ruins of a French cathedral used in the film's climatic battle scenes. He is probably portraying an American officer. The First National studio film crew used seven locations at Camp (Fort) Lewis to make realistic replicas of the French countryside. Desperate Germans would use this French cathedral as a final stand against superior American forces. BGN-126

BOWEN G36.1-218C

Director Al Santell and actor Richard Barthelmess flank Al Rockett, First National producer, at a train station in March, 1927. The stars and crew of "The Patent Leather Kid" arrived by special train in Tacoma for filming at Camp (Fort) Lewis where vivid battle scenes would be shot. Mr. Barthelmess would be later nominated for an Academy Award for his portrayal of a boxer who eventually enlists in the war and engages in the Battle of Argonne. (TNT 3-16-27, p. 1)

BOWEN G36.1-216

Lights! Cameras! Action! Cameras roll as filming occurs on Camp (Fort) Lewis with "The Patent Leather Kid" in March, 1927. One of the cameramen is believed to be Arthur Edeson, director of photography, a founder of the A.S.C. (American Society of Cinematogophers). He pioneered location sound photography in later work as the cameraman of the successful Western "In Old Arizona." Both he and the other cameraman are wearing protective helmets. Camp Lewis was used by the First National Inc. studios for outdoor photography with indoor scenes filmed in California. Multiple cameras captured the fierce battle action in the "Argonne" where thousands of soldiers from the 4th Infantry, 7th Infantry and ROTC from the University of Washington served as extras. The artillery range was used for the main part of the picture with the construction of five French villages and a cathedral. BGN-115

BOWEN G36.1-219

Filming of "The Patent Leather Kid" at Camp (Fort) Lewis in March, 1927. Cameras on top of platforms are protected under large umbrellas; ladders must be utilized by cameramen and director(s) for access to the platforms. Groups of actors and military personnel appear to be waiting for the next scene. BGN-114

BOWEN G36.1-224

Between scenes of "The Patent Leather Kid" on Camp (Fort) Lewis, March, 1927. Making films, even back in the silent era, involved lots of downtime. Scenes needed to be set up, camera angles discussed and positioned, and actors herded into place. Some of the actors, probably extras, stand in a group with their guns at rest while others lounge in a truck. Four giant loudspeakers would give plenty of warning when action was ready to commence. BGN 124

BOWEN G36.1-225

Action scene from "The Patent Leather Kid" filmed at Camp (Fort) Lewis in early April, 1927. A billowing curtain of smoke obscures advancing American troops from German soldiers entrenched behind rocks and hay during the "big drive in the Argonne." Two lines of trenches would be dug across the top of a hill as far as the eye could see and masses of barb wire entanglements, stumps, fallen trees and debris would stretch a quarter mile to the nearby forest. These German soldiers, and others, would tensely await the storming of thousands of American infantry and 21 tanks. Nine cameras would be used to film this battle sequence which would show an Army truck blown up and hand grenades and exploding shells decimating the earth. (TDL 4-2-27) BGN 112

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