John Wayne Before Stagecoach
A Look at His Earliest Work in Movies
by Ellen Reid & Bob Tuttle
A Look at His Earliest Work in Movies
by Ellen Reid & Bob Tuttle
John Wayne made 187 films during his career. Or maybe it was 200. Or it could have been as many as 250. The fact of the matter is that we may never know everything about John Wayne’s work in the movies. The generally accepted notion is that his career began in 1926 at Fox studios when he met famed director John Ford. However, there is significant evidence that it began long before this, and that it involved many more films than are usually quoted.
For the purpose of this article, “work” is defined as prop work, walk-ons, extra work, stunts and roles, whether credited on screen or not.
The movies are not much older than John Wayne who was born in 1907. The Great Train Robbery, first shown in 1903, is considered to be the beginning of movies as we know them today.
Around the same time as the young John Wayne and his family were settling into Glendale California, the movie makers were also heading to California, and it is more than likely that it was here and at this time that John Wayne’s movie work began.
For the purpose of this article, “work” is defined as prop work, walk-ons, extra work, stunts and roles, whether credited on screen or not.
The movies are not much older than John Wayne who was born in 1907. The Great Train Robbery, first shown in 1903, is considered to be the beginning of movies as we know them today.
Around the same time as the young John Wayne and his family were settling into Glendale California, the movie makers were also heading to California, and it is more than likely that it was here and at this time that John Wayne’s movie work began.
During the time period that the young John Wayne spent in Glendale, there were several Hollywood and New York Movie Studios that had relocated there, and many who had found the surrounding Verdugo Hills ideal for filmmaking. The young Wayne soon became enamored with the movie making folks and he spent as much time as he could around them. Here are just a few of the many references regarding movie studios located in, or filming around Glendale at this time.
· Kalem Company was an American film studio founded in New York city in 1907 by George Kleine, Samuel Long, and Frank J. Marion. The company was named for their initials K, L, and M. The company, still based in NY moved its production to Glendale, in 1909. The first west coast lot was literally in the backyard of a drug store at Orange and Broadway. The next year they relocated to Syracuse Canyon at Verdugo and Chevy Chase, simply known as Verdugo Canyon. (400 North Verdugo Road.)25
· At the corner of present-day Chevy Chase Drive and Verdugo Road, Morgan pointed to the former site of Kalem studios.28
· Kalem Company was an American film studio founded in New York city in 1907 by George Kleine, Samuel Long, and Frank J. Marion. The company was named for their initials K, L, and M. The company, still based in NY moved its production to Glendale, in 1909. The first west coast lot was literally in the backyard of a drug store at Orange and Broadway. The next year they relocated to Syracuse Canyon at Verdugo and Chevy Chase, simply known as Verdugo Canyon. (400 North Verdugo Road.)25
· At the corner of present-day Chevy Chase Drive and Verdugo Road, Morgan pointed to the former site of Kalem studios.28
· "Filmmakers were shooting movies in Glendale constantly in the early 1900s. The Sierra Photoplays Studio was located at 315 West Chestnut and Kalem Studios was at 400 North Verdugo Road. Other studios in Los Angeles regularly brought their actors and cameras out to Glendale on the Pacific Electric Railway to shoot films in the Verdugo foothills.29
· Fox and Vitagraph shot many westerns in and around Glendale.30
· Fox and Vitagraph shot many westerns in and around Glendale.30
That the young John Wayne, or Duke Morrison as he was then known, was involved at least to some degree with Hollywood film making during his pre-USC days should not be in doubt. Here are just a few of the many documented references regarding that film work that John Wayne did at the movie studios located in, or filming around Glendale at this time.
· “From the time he was nine years old, Duke spent hours, especially during the summers, at the Kalem Studio lot watching the cameramen shoot the films. On lucky days the grips would let him be their gofer, giving him chores to do and then letting him eat a box lunch with them at noon."29
· "Morrison fell in love with motion pictures right here," Morgan said. "Kids would ride their bikes over and watch as Helen Holmes, star of a series, 'Perils of Helen,' did her own stunts. “One day, Morgan told me, Morrison was watching as Holmes was tied to the rails on the old Salt Lake line. When the steam engine, tender and cars traveled right over her, she appeared to be doomed. But, as the train continued on, she rolled out of a specially dug pit and reappeared unscathed. “Morrison was smitten, with Holmes and with acting," said Morgan. "He was so enamored of show business that the producer put him to work at odd jobs." 28
· “From the fall of 1925 to the end of 1926, young Duke Morrison maintained a hectic pace, alternating between jobs at Fox on Sunset Boulevard in Hollywood; Warner’s Studio, two blocks west of Fox, also on Sunset; and MGM in Culver City. As a student he would put in the requisite time in classrooms, work off-campus as a waiter at his Sigma Chi Fraternity house, during the season attend the daily, grueling football workouts, find time for the ever present homework, and still have the energy to report to the studios for work in any variety of assignments – assistant property man, electrician’s helper, gofer, animal herder, bit player, extra, whatever was needed to keep the studio operating on an even keel and turn a profit for stockholders.” Page 22
From these documented references, it is clear that the young John Wayne (then known as Duke Morrison) was intimately familiar with films, and had done at least some work on an undetermined number of them. Although this work was likely behind the scenes as a member of the crew, the fact remains that he did work on films from that time, and the possibility exists that he may even have appeared on screen as an uncredited extra in some of them.
To date, John Wayne’s earliest known appearance on screen (as validated by his on screen appearance) is in the 1926 Lloyd Hamilton comedy short,(24) Careful please. The discovery that he did appear in this short comedy meshes with Wayne’s later statement that John Ford asked Lloyd “Ham” Hamilton to put him in front of the camera in bit parts in some of Hamilton’s films.
The speculation as to which movies he was involved with in the preceding and following years, right up until the release of Stagecoach in 1939, continues to this day.
Some of the reasons for this can be explained by the fact that many of the written and recorded biographies of John Wayne, were mostly created decades after this period when memories were not as sharp as they once were,and even John Wayne himself said he could not remember all of the films he was involved in!
Also the research for these biographies is inconsistent and has led to many contradictions which are quoted ad infinitum as being “definitive”.
The recent discovery of John Wayne’s uncredited appearance in the 1926 comedy short Careful please is evidence of the continuing speculation.31
The doubt about John Wayne’s involvement in this particular film centered largely around when Lloyd “Ham” Hamilton, John Ford and John Wayne met.
Even ignoring the fact that Hamilton worked at Kalem who had studios in Glendale, Ford worked for Fox who filmed around Glendale and a young John Wayne had a keen interest, perhaps minor involvement in movies at this time, and that they therefore could have stumbled over each other. There is evidence showing that all three of these men could have been in the same place and at the same time, as early as 1925.
John Ford and Lloyd Hamilton became members of the Masquers Club of Hollywood in the latter half of 1925. John Wayne joined the Masquers club in 1927.22
However, John Ford, Lloyd Hamilton and the young John Wayne probably met much earlier than this given that they were all considered original members of the Hollywood Athletic Club, which opened New Year’s Eve 1923.23, 26
Also taken into account is the fact that although Ford allegedly met Wayne for the first time in 1926 while on the Fox studio lot, and cast him in Mother Machree (which began filming in September 1926), it is know that Wayne had been on the Fox lot prior to this. It is also difficult to imagine that while Ford was so impressed with Wayne’s naturalness in front of the camera that he cast him in Mother Machree, but then did not use Wayne again until almost two years later in Four Sons. Between 1926 and the February 1928 release of Four Sons, it is known that Ford made at least four other films: The Shamrock Handicap (released May 1926), 3 Bad Men (released August 1926), The Blue Eagle (released September 1926) and Upstream (released January 1927). [Note: Ford likely spent the remainder of 1927 working on Mother Machree, which was finally released in London in September 1927, and in the United States in January 1928].
With these huge gaps between film projects, coupled with the very few days of extra work on the five films Wayne did during this time for MGM, Fox and First National, one would naturally question whether Wayne did any other work for Ford during this time frame. The answer to that question would be yes. With the discovery of a young John Wayne in a crowd scene near the end of Ford’s 1926 film The Shamrock Handicap (released 2 May 1926), it is now known that their first collaboration was not Mother Machree as originally thought. Of course this also begs the question of just how many other films did the young John Wayne work on during this time period.
As in the case of Careful Please, the films themselves are used as the “definitive” source of information. (Many of these film clips are available to view on line.5, and in the case of other films, production stills and publicity stills are also available.)
After all if John Wayne in person and or his name, can be seen on screen then who can argue that he was not involved or not credited?
Sources often say John Wayne was “billed” or “credited” (or not). Billing and credit is explained here for clarification.
Billing is a performing arts term used in referring to the order and other aspects of how Credits (the list of actors and behind-the-scenes staff who contributed to the production) are presented in films and other creative works. Information given in billing usually consists of the companies, actors, directors, producers and other crew members.
From the beginning of motion pictures in the 1900s to the early 1920s, the moguls that owned or managed big film studios did not want to bill the actors appearing in their films because they did not want to recreate the star system that was very prominent on Broadway at that time. They also feared that, once actors were billed on film, they would be more popular and would seek sky-high salaries.
In 1910 Florence Lawrence previously only known to the general public as the "Biograph girl", was lured away from Biograph by Carl Laemmle for his new Independent motion picture company (IMP). Laemmle offered her more money and marquee billing, something Biograph did not allow at the time. She became the first film star to receive billing on the credits of her film. From then on, actors received billing on film. Also originating during that time was the system of billing above and below the title, to delineate the status of the players. Big stars such as Pickford, Fairbanks, and Chaplin were billed above the title, while lesser movie stars and supporting players were billed below the title.
During the era of the studio system, on-screen billing was presented at the beginning of a film; only a restatement of the cast and possibly additional players appeared at the end, because the studios had actors under contract and could decide billing. The studios still followed the billing system of the silent era.
However, after the studio system's collapse in the 1950s, actors and their agents fought for billing on a film-by-film basis expanding its size significantly. Since the late 1960s, a significant amount of the billing is reserved for the closing credits of the film, which generally includes a recap of the billing shown at the beginning. In addition, more stars began to demand top billing. http://en.wikipedia.org/wiki/Billing_(film)
The following table shows those films, in order of release date, which John Wayne was probably involved with.
Where it is stated “Not credited on screen” it is meant that the film has been viewed, but that John Wayne’s name is not shown in the opening or closing credits.
Where it is stated “to be confirmed” this only means that to date this film has not been viewed.
· “From the time he was nine years old, Duke spent hours, especially during the summers, at the Kalem Studio lot watching the cameramen shoot the films. On lucky days the grips would let him be their gofer, giving him chores to do and then letting him eat a box lunch with them at noon."29
· "Morrison fell in love with motion pictures right here," Morgan said. "Kids would ride their bikes over and watch as Helen Holmes, star of a series, 'Perils of Helen,' did her own stunts. “One day, Morgan told me, Morrison was watching as Holmes was tied to the rails on the old Salt Lake line. When the steam engine, tender and cars traveled right over her, she appeared to be doomed. But, as the train continued on, she rolled out of a specially dug pit and reappeared unscathed. “Morrison was smitten, with Holmes and with acting," said Morgan. "He was so enamored of show business that the producer put him to work at odd jobs." 28
· “From the fall of 1925 to the end of 1926, young Duke Morrison maintained a hectic pace, alternating between jobs at Fox on Sunset Boulevard in Hollywood; Warner’s Studio, two blocks west of Fox, also on Sunset; and MGM in Culver City. As a student he would put in the requisite time in classrooms, work off-campus as a waiter at his Sigma Chi Fraternity house, during the season attend the daily, grueling football workouts, find time for the ever present homework, and still have the energy to report to the studios for work in any variety of assignments – assistant property man, electrician’s helper, gofer, animal herder, bit player, extra, whatever was needed to keep the studio operating on an even keel and turn a profit for stockholders.” Page 22
From these documented references, it is clear that the young John Wayne (then known as Duke Morrison) was intimately familiar with films, and had done at least some work on an undetermined number of them. Although this work was likely behind the scenes as a member of the crew, the fact remains that he did work on films from that time, and the possibility exists that he may even have appeared on screen as an uncredited extra in some of them.
To date, John Wayne’s earliest known appearance on screen (as validated by his on screen appearance) is in the 1926 Lloyd Hamilton comedy short,(24) Careful please. The discovery that he did appear in this short comedy meshes with Wayne’s later statement that John Ford asked Lloyd “Ham” Hamilton to put him in front of the camera in bit parts in some of Hamilton’s films.
The speculation as to which movies he was involved with in the preceding and following years, right up until the release of Stagecoach in 1939, continues to this day.
Some of the reasons for this can be explained by the fact that many of the written and recorded biographies of John Wayne, were mostly created decades after this period when memories were not as sharp as they once were,and even John Wayne himself said he could not remember all of the films he was involved in!
Also the research for these biographies is inconsistent and has led to many contradictions which are quoted ad infinitum as being “definitive”.
The recent discovery of John Wayne’s uncredited appearance in the 1926 comedy short Careful please is evidence of the continuing speculation.31
The doubt about John Wayne’s involvement in this particular film centered largely around when Lloyd “Ham” Hamilton, John Ford and John Wayne met.
Even ignoring the fact that Hamilton worked at Kalem who had studios in Glendale, Ford worked for Fox who filmed around Glendale and a young John Wayne had a keen interest, perhaps minor involvement in movies at this time, and that they therefore could have stumbled over each other. There is evidence showing that all three of these men could have been in the same place and at the same time, as early as 1925.
John Ford and Lloyd Hamilton became members of the Masquers Club of Hollywood in the latter half of 1925. John Wayne joined the Masquers club in 1927.22
However, John Ford, Lloyd Hamilton and the young John Wayne probably met much earlier than this given that they were all considered original members of the Hollywood Athletic Club, which opened New Year’s Eve 1923.23, 26
Also taken into account is the fact that although Ford allegedly met Wayne for the first time in 1926 while on the Fox studio lot, and cast him in Mother Machree (which began filming in September 1926), it is know that Wayne had been on the Fox lot prior to this. It is also difficult to imagine that while Ford was so impressed with Wayne’s naturalness in front of the camera that he cast him in Mother Machree, but then did not use Wayne again until almost two years later in Four Sons. Between 1926 and the February 1928 release of Four Sons, it is known that Ford made at least four other films: The Shamrock Handicap (released May 1926), 3 Bad Men (released August 1926), The Blue Eagle (released September 1926) and Upstream (released January 1927). [Note: Ford likely spent the remainder of 1927 working on Mother Machree, which was finally released in London in September 1927, and in the United States in January 1928].
With these huge gaps between film projects, coupled with the very few days of extra work on the five films Wayne did during this time for MGM, Fox and First National, one would naturally question whether Wayne did any other work for Ford during this time frame. The answer to that question would be yes. With the discovery of a young John Wayne in a crowd scene near the end of Ford’s 1926 film The Shamrock Handicap (released 2 May 1926), it is now known that their first collaboration was not Mother Machree as originally thought. Of course this also begs the question of just how many other films did the young John Wayne work on during this time period.
As in the case of Careful Please, the films themselves are used as the “definitive” source of information. (Many of these film clips are available to view on line.5, and in the case of other films, production stills and publicity stills are also available.)
After all if John Wayne in person and or his name, can be seen on screen then who can argue that he was not involved or not credited?
Sources often say John Wayne was “billed” or “credited” (or not). Billing and credit is explained here for clarification.
Billing is a performing arts term used in referring to the order and other aspects of how Credits (the list of actors and behind-the-scenes staff who contributed to the production) are presented in films and other creative works. Information given in billing usually consists of the companies, actors, directors, producers and other crew members.
From the beginning of motion pictures in the 1900s to the early 1920s, the moguls that owned or managed big film studios did not want to bill the actors appearing in their films because they did not want to recreate the star system that was very prominent on Broadway at that time. They also feared that, once actors were billed on film, they would be more popular and would seek sky-high salaries.
In 1910 Florence Lawrence previously only known to the general public as the "Biograph girl", was lured away from Biograph by Carl Laemmle for his new Independent motion picture company (IMP). Laemmle offered her more money and marquee billing, something Biograph did not allow at the time. She became the first film star to receive billing on the credits of her film. From then on, actors received billing on film. Also originating during that time was the system of billing above and below the title, to delineate the status of the players. Big stars such as Pickford, Fairbanks, and Chaplin were billed above the title, while lesser movie stars and supporting players were billed below the title.
During the era of the studio system, on-screen billing was presented at the beginning of a film; only a restatement of the cast and possibly additional players appeared at the end, because the studios had actors under contract and could decide billing. The studios still followed the billing system of the silent era.
However, after the studio system's collapse in the 1950s, actors and their agents fought for billing on a film-by-film basis expanding its size significantly. Since the late 1960s, a significant amount of the billing is reserved for the closing credits of the film, which generally includes a recap of the billing shown at the beginning. In addition, more stars began to demand top billing. http://en.wikipedia.org/wiki/Billing_(film)
The following table shows those films, in order of release date, which John Wayne was probably involved with.
Where it is stated “Not credited on screen” it is meant that the film has been viewed, but that John Wayne’s name is not shown in the opening or closing credits.
Where it is stated “to be confirmed” this only means that to date this film has not been viewed.
Entries marked in RED have not viewed by or held in the collections of the author.
Entries marked with *** indicates there are further notes for these films following the table.
Entries marked with *** indicates there are further notes for these films following the table.
ADDITIONAL NOTES (alphabetical order)
ADVENTURE’S END (Universal 1937)
ADVENTURE’S END (Universal 1937)
I. American Film Institute lists cast “John Wayne, name before title.” However, AFI note “The plot and credits were obtained from a studio screen continuity.”8
II. No print has been viewed by the American Film Institute.8
III. Print held in Library of Congress.21
II. No print has been viewed by the American Film Institute.8
III. Print held in Library of Congress.21
ANNIE LAURIE (1927)
I. “In production on the MGM lot during the summer of 1926, Wayne and several other USC friends worked as costumed extras, wearing kilts, in the film.” Page 202
II. “Duke also worked that semester [second] as an extra in MGM’s Annie Laurie.” Page 604
III. I remember working in a Norman Kerry picture at MGM recalled the Duke in a letter on the subject, ‘in which I was dressed in a Scotsman outfit but for the life of me, I could not tell you the name of the picture.’ (the film was Annie Laurie) Vol VI, No 3, October 19899
IV. Print held in Library of Congress.21
V. When viewed by the authors the opening credits on this film list (amongst others) “Lillian Gish, Norman Kerry. Directed by John S. Robertson.”
VI. This film has been viewed by the authors, however the quality is so poor that we were unable to say if John Wayne can be seen in this film or not. We were able to establish that John Wayne’s name does not appear in the opening or closing credits of this film.
II. “Duke also worked that semester [second] as an extra in MGM’s Annie Laurie.” Page 604
III. I remember working in a Norman Kerry picture at MGM recalled the Duke in a letter on the subject, ‘in which I was dressed in a Scotsman outfit but for the life of me, I could not tell you the name of the picture.’ (the film was Annie Laurie) Vol VI, No 3, October 19899
IV. Print held in Library of Congress.21
V. When viewed by the authors the opening credits on this film list (amongst others) “Lillian Gish, Norman Kerry. Directed by John S. Robertson.”
VI. This film has been viewed by the authors, however the quality is so poor that we were unable to say if John Wayne can be seen in this film or not. We were able to establish that John Wayne’s name does not appear in the opening or closing credits of this film.
BARDELYS THE MAGNIFICENT (1926)
I. “Pexy said…..It was about this time [1926], too that Duke and Pexy made a little money as extras in motion pictures, even before Duke began working at Fox studios… Duke worked as a football player in several of them... I was usually employed as a football fan in the crowd scenes. I remember one of them was filmed in the rose bowl….I do recall the title of one we worked in though, because it was a big budget film and starred John Gilbert. It was called Bardelays (sic) the magnificent……Duke portrayed one of the spear carrying guards who were gathered around the gallows where Gilbert was about to be hanged. The script called for Gilbert’s character to grab a spear from one of the guards and use it to pole vault over the crowd, thereby escaping….and I did the pole vaulting stunt. Duke and I enjoyed such work and were grateful for the pay which was about eight or ten dollars a day – good money back then”. Page 66-671
II. “Duke’s participation in this film was heretofore unknown. Pexy Eckles recalled it during our interview with him. Duke portrayed one of several spear carrying guards gathered around a gallows where Gilbert was to be hanged. Pexy doubled for Gilbert; neither he nor Duke were billed” Page 3891
III. “Wayne and his boyhood friend Pexy Eckles were hired as spear-carrying guards in the gallows scene.” Page 302
II. “Duke’s participation in this film was heretofore unknown. Pexy Eckles recalled it during our interview with him. Duke portrayed one of several spear carrying guards gathered around a gallows where Gilbert was to be hanged. Pexy doubled for Gilbert; neither he nor Duke were billed” Page 3891
III. “Wayne and his boyhood friend Pexy Eckles were hired as spear-carrying guards in the gallows scene.” Page 302
BLACK WATCH (1929)
I. “Wayne worked on the film as a prop man.” Page 412
II. “As an extra.” Page 7014
II. “As an extra.” Page 7014
BORN RECKLESS (1930)
I. “Wayne worked on this film in the capacity of a propman.” Page 462
II. “As an extra.” Page 7024
II. “As an extra.” Page 7024
BROWN OF HARVARD (1926)
I. “…among them Francis X. Bushman (for whom Duke had doubled in Brown of Harvard while still a USC student)” Page 1181
II. “Brown of Harvard (MGM 1925)… Duke cited this as his first appearance on film, a collegiate football picture in which he doubled on the playing field for Francis X. Bushman jr. Pexy Eckles was an extra in the grandstand scenes. Neither received billing” Page 3891
III. “The film is noteworthy as the first known screen appearance of John Wayne (then still known as Marion Morrison). He and several other USC footballers served as stand-ins for the actors. Wayne doubled for Francis X. Bushman, Jr.” Page 542
IV. “Wayne can be seen on the football field as number 17.”5
V. “[Duke] did some extra work in films like Brown of Harvard.”17
II. “Brown of Harvard (MGM 1925)… Duke cited this as his first appearance on film, a collegiate football picture in which he doubled on the playing field for Francis X. Bushman jr. Pexy Eckles was an extra in the grandstand scenes. Neither received billing” Page 3891
III. “The film is noteworthy as the first known screen appearance of John Wayne (then still known as Marion Morrison). He and several other USC footballers served as stand-ins for the actors. Wayne doubled for Francis X. Bushman, Jr.” Page 542
IV. “Wayne can be seen on the football field as number 17.”5
V. “[Duke] did some extra work in films like Brown of Harvard.”17
CAREFUL PLEASE (1926)
I. A Lloyd ‘Ham’ Hamilton comedy short released 7 February 1926.
II. John Wayne said: “I finally got bit parts in a few other films. Ham Hamilton was the director of those films. He was a friend22 of Ford’s and the latter asked Hamilton to give me a chance at acting if he had any bit parts to cast me in.” Volume VI, No 1, June 19899
III. “Wayne continued working in the prop department [of Fox] and now and then as a stuntman. He also began to get bit parts in Ham Hamilton comedies ….” Page 1213
IV. Lee O Miller, had the good fortune to interview Duke, and Duke told him 'I finally got bit parts in a few other films. Ham Hamilton was the director of those films. He was a friend22 of Ford's and the latter asked Hamilton to give me a chance at acting, if he had any bit parts, to cast me in.” Page 4019
V. Despite his football scholarship at USC [September 1925 - May 1927], he [John Wayne] needed to earn extra money and became a top scalper [ticket tout]. His scalping took him to the Hollywood Athletic Club26 and he also did work for the phone company on movie lots. Page 3027
VI. “It was in 1926 that Wayne first met John Ford while Wayne was a prop boy on the Fox lot.” Page 3820
II. John Wayne said: “I finally got bit parts in a few other films. Ham Hamilton was the director of those films. He was a friend22 of Ford’s and the latter asked Hamilton to give me a chance at acting if he had any bit parts to cast me in.” Volume VI, No 1, June 19899
III. “Wayne continued working in the prop department [of Fox] and now and then as a stuntman. He also began to get bit parts in Ham Hamilton comedies ….” Page 1213
IV. Lee O Miller, had the good fortune to interview Duke, and Duke told him 'I finally got bit parts in a few other films. Ham Hamilton was the director of those films. He was a friend22 of Ford's and the latter asked Hamilton to give me a chance at acting, if he had any bit parts, to cast me in.” Page 4019
V. Despite his football scholarship at USC [September 1925 - May 1927], he [John Wayne] needed to earn extra money and became a top scalper [ticket tout]. His scalping took him to the Hollywood Athletic Club26 and he also did work for the phone company on movie lots. Page 3027
VI. “It was in 1926 that Wayne first met John Ford while Wayne was a prop boy on the Fox lot.” Page 3820
CENTRAL AIRPORT (1933)
I. “Central airport (Warner Bros 1933)… Duke had only a non-speaking bit part in this as an injured co-pilot in an aircraft downed at sea.” Page 3941
II. “Wayne, in his only sequence in the film, is of a plane that has crashed into the ocean. In an effort to save a hapless and panicked passenger, he vainly attempts a rescue and loses his life. The actor had no dialogue in the film.” Page 622
III. “Primary sources for this filmography are the credits appearing in the films themselves….Central airport John Wayne in non speaking bit as injured co-pilot.” Page 315 & 32110
IV. “[Cast] John Wayne.” Page 37511
II. “Wayne, in his only sequence in the film, is of a plane that has crashed into the ocean. In an effort to save a hapless and panicked passenger, he vainly attempts a rescue and loses his life. The actor had no dialogue in the film.” Page 622
III. “Primary sources for this filmography are the credits appearing in the films themselves….Central airport John Wayne in non speaking bit as injured co-pilot.” Page 315 & 32110
IV. “[Cast] John Wayne.” Page 37511
CHEER UP AND SMILE (Fox 1930)
I. “…..Duke played a college student in the film, and it was to be his last job as a prop man and bit part player. By the time Rough romance and Cheer up and smile were released, he was working on location in a $2 million film [The Big trail] – as its star.” Page 891
II. “Cheer up and smile (William Fox studios 1930)… Duke played a college student in this campus musical comedy, billed as Duke Morrison.” Page 3901
III. “[Cast]…..Duke Morrison, (John Wayne).” Page 632
IV. American Film Institute lists cast “Dixie Lee (Margie), Arthur Lake (Eddie Fripp), Olga Baclanova (Yvonne), "Whispering" Jack Smith (Himself), Johnny Arthur (Andy), Charles Judels (Pierry) , John Darrow (Tom), Sumner Getchell (Paul), Franklin Pangborn (Professor), Buddy Messinger (Donald). Directed by Sidney Lanfield.” 8
V. No print has been viewed by the American Film Institute.8
VI. “Primary sources for this filmography are the credits appearing in the films themselves….Cheer up and smile John Wayne as college student billed as Duke Morrison.” Page 315 & 31710
VII. “Way down in the cast list is Duke Morrison.” Page 37511
VIII. “Cast:…John Wayne.” Page 3413
IX. Preserved copy in UCLA18
II. “Cheer up and smile (William Fox studios 1930)… Duke played a college student in this campus musical comedy, billed as Duke Morrison.” Page 3901
III. “[Cast]…..Duke Morrison, (John Wayne).” Page 632
IV. American Film Institute lists cast “Dixie Lee (Margie), Arthur Lake (Eddie Fripp), Olga Baclanova (Yvonne), "Whispering" Jack Smith (Himself), Johnny Arthur (Andy), Charles Judels (Pierry) , John Darrow (Tom), Sumner Getchell (Paul), Franklin Pangborn (Professor), Buddy Messinger (Donald). Directed by Sidney Lanfield.” 8
V. No print has been viewed by the American Film Institute.8
VI. “Primary sources for this filmography are the credits appearing in the films themselves….Cheer up and smile John Wayne as college student billed as Duke Morrison.” Page 315 & 31710
VII. “Way down in the cast list is Duke Morrison.” Page 37511
VIII. “Cast:…John Wayne.” Page 3413
IX. Preserved copy in UCLA18
COLLEGE COACH (1933)
I. “College Coach (Warner Bros 1933)… Duke has only one line in this college football film.” Page 391
II. “[Cast] …John Wayne.” Page 702
III. “As a student greeting Dick Powell's character (three lines of dialogue).”5
II. “[Cast] …John Wayne.” Page 702
III. “As a student greeting Dick Powell's character (three lines of dialogue).”5
THE DECEIVER (Columbia 1931)
I. Richard Thorpe “Duke doubled as Ian Keith’s corpse in this film.” Page 3911
II. American Film Institute lists cast “Lloyd Hughes (Tony Hill), Dorothy Sebastian (Ina Fontaine), Ian Keith (Reginald Thorpe), Natalie Moorhead (Mrs. Helen Lawton), Richard Tucker (Mr. John Lawton), George Byron (Speedy), Greta Granstedt (Celia Adams), Murray Kinnell (Breckinridge), De Witt Jennings (Inspector Dunn), Allan Garcia (Payne), Harvey Clark (Nat Phillips), Sidney Bracy (Barney Adams), Frank Halliday (Thomas), Colin Campbell (Dr. Schultz), Nick Copeland (Stage manager) . Directed by Louis King.” 8
III. No print has been viewed by the American Film Institute.8
IV. Print held in Library of Congress.21
II. American Film Institute lists cast “Lloyd Hughes (Tony Hill), Dorothy Sebastian (Ina Fontaine), Ian Keith (Reginald Thorpe), Natalie Moorhead (Mrs. Helen Lawton), Richard Tucker (Mr. John Lawton), George Byron (Speedy), Greta Granstedt (Celia Adams), Murray Kinnell (Breckinridge), De Witt Jennings (Inspector Dunn), Allan Garcia (Payne), Harvey Clark (Nat Phillips), Sidney Bracy (Barney Adams), Frank Halliday (Thomas), Colin Campbell (Dr. Schultz), Nick Copeland (Stage manager) . Directed by Louis King.” 8
III. No print has been viewed by the American Film Institute.8
IV. Print held in Library of Congress.21
DROP KICK (1927)
I. “Drop kick, the (First National 1927)… Duke and Pexy were grandstand extras in this football picture, neither received billing” Page 3891
II. “Wayne was one of ten college football players (from Stanford, USC and UCLA), selected to appear as stand-ins and extras in the grandstands . . .” Page 972
III. “Duke and other members of the USC football team were hired for drop kick.”16
IV. “There is evidence to suggest the tireless young professional worked at other studios while being employed at Fox. We know of his appearance in “THE DROP KICK,” a Richard Barthelmess college picture in which young Wayne is clearly visible as a spectator in the crowd at the big Shoreham-Central game. When the hero misses a critical kick, Wayne can be seen hooting and giving cat calls.” Vol VI, No 1, June 19899
II. “Wayne was one of ten college football players (from Stanford, USC and UCLA), selected to appear as stand-ins and extras in the grandstands . . .” Page 972
III. “Duke and other members of the USC football team were hired for drop kick.”16
IV. “There is evidence to suggest the tireless young professional worked at other studios while being employed at Fox. We know of his appearance in “THE DROP KICK,” a Richard Barthelmess college picture in which young Wayne is clearly visible as a spectator in the crowd at the big Shoreham-Central game. When the hero misses a critical kick, Wayne can be seen hooting and giving cat calls.” Vol VI, No 1, June 19899
FOOTLIGHT PARADE (1933)
I. The movie that is playing at the theater visited by Cagney's character early in the story is the 1933 Warner Bros. film The Telegraph Trail, starring John Wayne and Marceline Day, along with Frank McHugh, who portrayed the choreographer, "Francis," in Footlight Parade. 8
II. A clip from “The Telegraph Trail” is said to be featured in this film. Vol X, No 4, December 1993 9
II. A clip from “The Telegraph Trail” is said to be featured in this film. Vol X, No 4, December 1993 9
The Forward Pass (First National 1929)
I. “Wayne was briefly in this film as an extra since he was a friend of co-star Loretta Young and locations were shot at USC with their football team.” Page 1202
II. American Film Institute lists cast “Douglas Fairbanks Jr (Marty Reid), Loretta Young (Patricia Carlyle), University of Southern California football team. Directed by Eddie Cline” 8
III. No print has been viewed by the American Film Institute. 8
IV. “Douglas Fairbanks Jr. stated: “I did make one picture (for Warner’s First National Pictures) that, though not very good, may be of some interest to movie buffs. It was called “THE FORWARD PASS” (First National 1929) and it was a football story, with myself as the quarterback hero and Loretta Young as the heroine… We happened to hire the whole USC football team to be the “school team” in “THE FORWARD PASS.” … Two of the fellows on the team were friends of mine, one a quarterback, Marshal Duffield, and the other a huge guard named Marion Michael “Duke” Morrison. Three years later I got Morrison a job in another picture of mine called “THE LIFE OF JIMMY DOLAN.” Volume VI, No 1, June 19899
V. Soundtrack only in UCLA18
II. American Film Institute lists cast “Douglas Fairbanks Jr (Marty Reid), Loretta Young (Patricia Carlyle), University of Southern California football team. Directed by Eddie Cline” 8
III. No print has been viewed by the American Film Institute. 8
IV. “Douglas Fairbanks Jr. stated: “I did make one picture (for Warner’s First National Pictures) that, though not very good, may be of some interest to movie buffs. It was called “THE FORWARD PASS” (First National 1929) and it was a football story, with myself as the quarterback hero and Loretta Young as the heroine… We happened to hire the whole USC football team to be the “school team” in “THE FORWARD PASS.” … Two of the fellows on the team were friends of mine, one a quarterback, Marshal Duffield, and the other a huge guard named Marion Michael “Duke” Morrison. Three years later I got Morrison a job in another picture of mine called “THE LIFE OF JIMMY DOLAN.” Volume VI, No 1, June 19899
V. Soundtrack only in UCLA18
FOUR SONS (1928)
I. “Wayne worked as an assistant property man and may have participated as an extra in any one of the street scenes.” Page1222
GIRLS DEMAND EXCITEMENT (Fox 1931)
I. “As Peter Brooks” Page 3911
II. American Film Institute lists cast “Virginia Cherrill (Joan Maddison), John Wayne (Peter Brooks), Marguerite Churchill (Miriam). Directed by Seymour Felix.”8
III. A complete print has been viewed by the American Film Institute.8
IV. Print in UCLA18
II. American Film Institute lists cast “Virginia Cherrill (Joan Maddison), John Wayne (Peter Brooks), Marguerite Churchill (Miriam). Directed by Seymour Felix.”8
III. A complete print has been viewed by the American Film Institute.8
IV. Print in UCLA18
GREAT K&A TRAIN ROBBERY (1926)
I. “A young Wayne and several other USC teammates were hired to exercise with [Tom] Mix, keeping the star in shape, while the actor filmed on location. Once in Colorado, the young college athletes barely saw Mix, as their tasks were redirected towards the moving of props and driving vehicles.” Page 1262
II. “He propped the film, and that was it.” Page 614 (Although the book contradicts this in its own filmography, which says he played an extra Page 7014).
III. “Here’s how Wayne recalls it: Tom Mix gave me my first Hollywood movie job. … I worked with him on “The Great Train Robbery” (Fox 1927). I was a prop boy.” Volume VI, No 1, June 19899
IV. “Early films in which John Wayne was known to feature as an extra are…The Great K&A Train Robbery…” Page 37311
V. “Using his pull, Mix had Duke cast as a bit player in a few of his films and on occasion hired him as a stuntman, a job at which the gutsy natural athlete excelled. Page 6615
II. “He propped the film, and that was it.” Page 614 (Although the book contradicts this in its own filmography, which says he played an extra Page 7014).
III. “Here’s how Wayne recalls it: Tom Mix gave me my first Hollywood movie job. … I worked with him on “The Great Train Robbery” (Fox 1927). I was a prop boy.” Volume VI, No 1, June 19899
IV. “Early films in which John Wayne was known to feature as an extra are…The Great K&A Train Robbery…” Page 37311
V. “Using his pull, Mix had Duke cast as a bit player in a few of his films and on occasion hired him as a stuntman, a job at which the gutsy natural athlete excelled. Page 6615
HANGMAN'S HOUSE (1928)
I. “He [Duke] wasn’t given screen credit but he appeared in silhouette as a condemned man in court (a shadowy flashback in a judge’s memory) and as a racetrack spectator in an action scene” Page 841
II. “Hangman’s House (William Fox studios 1928)… Duke got his first close up in this film as a racetrack spectator; he was unbilled.” Page 3891
III. “Wayne appeared in two sequences, of which only one survived the editing process.” Page 1332
IV. “. . . Wayne is clearly visible in four shots, two of them centered on him.” Page 203
V. “While continuing work as a propman, Wayne did a bit part in Ford’s “Hangman’s House”, in which he was billed as Duke Morrison.” Page 12712
VI. “Wayne continued working in the prop department [Fox] and now and then as a stuntman. He also began to get bit parts in…Ford films such as Hangman’s House….” Page 1213
VII. “Cast…John Wayne.” Page 3113
VIII. “By 1928 Duke was getting bit parts in films for Ford and other directors… an unbilled extra in Hangman’s House.”16
II. “Hangman’s House (William Fox studios 1928)… Duke got his first close up in this film as a racetrack spectator; he was unbilled.” Page 3891
III. “Wayne appeared in two sequences, of which only one survived the editing process.” Page 1332
IV. “. . . Wayne is clearly visible in four shots, two of them centered on him.” Page 203
V. “While continuing work as a propman, Wayne did a bit part in Ford’s “Hangman’s House”, in which he was billed as Duke Morrison.” Page 12712
VI. “Wayne continued working in the prop department [Fox] and now and then as a stuntman. He also began to get bit parts in…Ford films such as Hangman’s House….” Page 1213
VII. “Cast…John Wayne.” Page 3113
VIII. “By 1928 Duke was getting bit parts in films for Ford and other directors… an unbilled extra in Hangman’s House.”16
HOLLYWOOD HANDICAP, the (Universal 1932)
I. “Duke [as himself] was a guest in this two reel comedy.” Page 3931
II. Newsreel footage of John Wayne, Mickey Rooney, Oliver Hardy, Dorothy Lamour, Bing Crosby and a host of others. 20 minute short. http://www.imdb.com/title/tt0023014/fullcredits
II. Newsreel footage of John Wayne, Mickey Rooney, Oliver Hardy, Dorothy Lamour, Bing Crosby and a host of others. 20 minute short. http://www.imdb.com/title/tt0023014/fullcredits
LONE STAR RANGER (1930)
I. “…with Wayne serving as a wrangler, stunt double and bit player.” Page 1982
II. “According to Wayne’s recollection, … “I was hired on as an assistant for a George O’Brien western (I was actually hired as an actor but it was understood I would act as an Assistant – a scrounger, today they would call them a location manager). One of my jobs was to get 400 head of cattle into Blue Canyon which was 150 miles from any paved road. A preacher who had a little church on the Hopi reservation agreed to help me gather them. In gathering those cattle, we horse backed into Monument Valley. … It was during the making of this picture, in which I was assistant as well as riding in the posse that I personally rode through Monument Valley.” (The film was Lone Star Ranger, Fox 1930.) Volume VI, No 1, June 1989.9 This is noteworthy not simply because it definitively places Wayne in this film, but it also dispels two myths that have been perpetuated by many over the years. The first is that Wayne was never a cowboy. That he drove 400 head of cattle over 100 miles, while on horseback, proves that at least once in his life he was a cowboy. The second is that John Ford “discovered” Monument Valley, since Wayne was there almost ten full years before Ford filmed Stagecoach there in 1939.
III. This film has been viewed by the authors, however the quality is so poor that we were only able to say that this is could be John Wayne seen in this film. We were able to establish that John Wayne’s name does not appear in the opening or closing credits of this film.
II. “According to Wayne’s recollection, … “I was hired on as an assistant for a George O’Brien western (I was actually hired as an actor but it was understood I would act as an Assistant – a scrounger, today they would call them a location manager). One of my jobs was to get 400 head of cattle into Blue Canyon which was 150 miles from any paved road. A preacher who had a little church on the Hopi reservation agreed to help me gather them. In gathering those cattle, we horse backed into Monument Valley. … It was during the making of this picture, in which I was assistant as well as riding in the posse that I personally rode through Monument Valley.” (The film was Lone Star Ranger, Fox 1930.) Volume VI, No 1, June 1989.9 This is noteworthy not simply because it definitively places Wayne in this film, but it also dispels two myths that have been perpetuated by many over the years. The first is that Wayne was never a cowboy. That he drove 400 head of cattle over 100 miles, while on horseback, proves that at least once in his life he was a cowboy. The second is that John Ford “discovered” Monument Valley, since Wayne was there almost ten full years before Ford filmed Stagecoach there in 1939.
III. This film has been viewed by the authors, however the quality is so poor that we were only able to say that this is could be John Wayne seen in this film. We were able to establish that John Wayne’s name does not appear in the opening or closing credits of this film.
MEN WITHOUT WOMEN (1930)
I. “Duke did stunt work in the film and played an unbilled part as one of fourteen seamen trapped in a submarine disabled on the ocean floor” Page 87-881
II. “Men without women (William Fox studios 1930) Duke has a small part as a sailor relaying messages between the commanding officer and the rescue divers.” Page 3901
III. “Besides being a prop man, [Wayne] drew extra pay as a stuntman during the diving sequences, was a sailor in the hapless submarine and played a radio operator on the rescue ship.” Page 2292
IV. “[Wayne] had four or five lines to speak . . . .” Page 223
V. “Cast….John Wayne.” 8
VI. “Wayne was unbilled.” Page 37411
VII. “Wayne continued working in the prop department [Fox] and now and then as a stuntman. He also began to get bit parts in…Ford films such as Men without women.” Page 1213
VIII. “Cast…John Wayne.” Page 3313
II. “Men without women (William Fox studios 1930) Duke has a small part as a sailor relaying messages between the commanding officer and the rescue divers.” Page 3901
III. “Besides being a prop man, [Wayne] drew extra pay as a stuntman during the diving sequences, was a sailor in the hapless submarine and played a radio operator on the rescue ship.” Page 2292
IV. “[Wayne] had four or five lines to speak . . . .” Page 223
V. “Cast….John Wayne.” 8
VI. “Wayne was unbilled.” Page 37411
VII. “Wayne continued working in the prop department [Fox] and now and then as a stuntman. He also began to get bit parts in…Ford films such as Men without women.” Page 1213
VIII. “Cast…John Wayne.” Page 3313
MOTHER MACHREE (1928)
I. “Early films in which John Wayne was known to feature as an extra are…Mother Machree…” Page 37311
II. “John Wayne’s film career began in 1928 when director John Ford allowed him to do a “walk on” in “Mother Machree” (for which he received no screen credit).” Page 12712 [Note: Filming actually began on Mother Machree in September 1926, and not 1928 as the reference source states. Since the film was eventually released both as a silent and as a partial talkie, it is likely that its release was held up by post-production work, i.e. the inclusion of sound. It was released as a silent in London, England in 1927, and in the United States in January 1928.]
III. “Wayne said…I was given a job with the ‘swing gang’ a sort of utility work outfit. My wages were $35 a week; my job was to lug furniture and props around to arrange them on the set. The first picture I worked on I remember was Mother Machree, which John Ford was directing.” Page 1213
IV. “Cast… (John Wayne an unbilled extra.)” Page 3113
V. "Ford hired him [John Wayne] to herd sheep in one film” 14
VI. Reels 1, 2 & 5 of 8 reels in total held by Library of Congress.21
VII. Reels 2, 5 & 7 of 8 reels in total held by UCLA.18
VIII. This film has been viewed by the authors, however the quality is so poor and some reels are missing so that we were only able to say that this could be John Wayne seen in this film. We were able to establish that John Wayne’s name does not appear in the opening credits of this film.
II. “John Wayne’s film career began in 1928 when director John Ford allowed him to do a “walk on” in “Mother Machree” (for which he received no screen credit).” Page 12712 [Note: Filming actually began on Mother Machree in September 1926, and not 1928 as the reference source states. Since the film was eventually released both as a silent and as a partial talkie, it is likely that its release was held up by post-production work, i.e. the inclusion of sound. It was released as a silent in London, England in 1927, and in the United States in January 1928.]
III. “Wayne said…I was given a job with the ‘swing gang’ a sort of utility work outfit. My wages were $35 a week; my job was to lug furniture and props around to arrange them on the set. The first picture I worked on I remember was Mother Machree, which John Ford was directing.” Page 1213
IV. “Cast… (John Wayne an unbilled extra.)” Page 3113
V. "Ford hired him [John Wayne] to herd sheep in one film” 14
VI. Reels 1, 2 & 5 of 8 reels in total held by Library of Congress.21
VII. Reels 2, 5 & 7 of 8 reels in total held by UCLA.18
VIII. This film has been viewed by the authors, however the quality is so poor and some reels are missing so that we were only able to say that this could be John Wayne seen in this film. We were able to establish that John Wayne’s name does not appear in the opening credits of this film.
NOAH’S ARK (1928)
I. “Wayne and Andy Devine were hired as stunt swimmers.” Page 2422
II. “As an extra.” Page 7024
III. “NOAH’S ARK (Warners 1928) was my first meeting with Andy Devine, (recalled Wayne). We were both hired as stunt swimmers.” Volume VI, No 1, June 19899
IV. "As a matter of fact, when they were making Noah’s Ark they called our school and wanted kids over six foot to come out for $15 a day and swim while they broke the temple down on top of us. Another fella and I were standing together and Andy came up beside me and he says, “Hey, give me a hand, will you?” And he put a hand on my shoulder and a hand on this other guy’s shoulder, and he’s that big around, he’s the first one they picked, you know." Page 285 23
V. This film has been viewed by the authors, however, we were unable to say if John Wayne can be seen in this film or not. We were able to establish that John Wayne’s name does not appear in the opening or closing credits of this film.
II. “As an extra.” Page 7024
III. “NOAH’S ARK (Warners 1928) was my first meeting with Andy Devine, (recalled Wayne). We were both hired as stunt swimmers.” Volume VI, No 1, June 19899
IV. "As a matter of fact, when they were making Noah’s Ark they called our school and wanted kids over six foot to come out for $15 a day and swim while they broke the temple down on top of us. Another fella and I were standing together and Andy came up beside me and he says, “Hey, give me a hand, will you?” And he put a hand on my shoulder and a hand on this other guy’s shoulder, and he’s that big around, he’s the first one they picked, you know." Page 285 23
V. This film has been viewed by the authors, however, we were unable to say if John Wayne can be seen in this film or not. We were able to establish that John Wayne’s name does not appear in the opening or closing credits of this film.
OREGON TRAIL, the (Republic 1936)
I. American Film Institute list cast “John Wayne (Capt. John Delmont), Ann Rutherford (Anne Ridgeley). Directed by Scott Pembroke.”8
II. No print has been viewed by the American Film Institute.8
III. A print of the trailer for this film is held by Academy of Motion Picture Arts and Sciences film archive.8
II. No print has been viewed by the American Film Institute.8
III. A print of the trailer for this film is held by Academy of Motion Picture Arts and Sciences film archive.8
PAINTED TRAIL, the (Monogram 1938)
I. John Wayne (uncredited) (archive footage) http://www.imdb.com/title/tt0030549/fullcredits#cast
II. Monogram was well known for its low production values, and often utilized footage from other films that it produced. John Wayne made 14 films for Monogram between 1933 and 1935, including The Dawn Rider (1935), clips of which were used in The Painted Trail. It is likely that footage from other films Wayne made for Monogram was used in the production of The Painted Trail as well.
III. A print has been viewed by the American Film Institute and no mention is made of John Wayne.8
II. Monogram was well known for its low production values, and often utilized footage from other films that it produced. John Wayne made 14 films for Monogram between 1933 and 1935, including The Dawn Rider (1935), clips of which were used in The Painted Trail. It is likely that footage from other films Wayne made for Monogram was used in the production of The Painted Trail as well.
III. A print has been viewed by the American Film Institute and no mention is made of John Wayne.8
ROUGH ROMANCE (1930)
I. “Duke did an unbilled part as a card player in the film.” Page 891
II. “Rough Romance, A (William Fox studios 1928)… Duke has a few lines in this outdoor adventure, filmed in the Oregon forests, billed as Duke Morrison.” Page 3901
III. “Wayne, as a card player, is visible in two scenes and has one line of dialogue.” Page 2992
IV. “Primary sources for this filmography are the credits appearing in the films themselves….Rough Romance John Wayne, billed as Duke Morrison.” Page 315 & 31710
V. “[Cast] Duke Morrison.” Page 37411
VI. “Cast…John Wayne.” Page 3413
II. “Rough Romance, A (William Fox studios 1928)… Duke has a few lines in this outdoor adventure, filmed in the Oregon forests, billed as Duke Morrison.” Page 3901
III. “Wayne, as a card player, is visible in two scenes and has one line of dialogue.” Page 2992
IV. “Primary sources for this filmography are the credits appearing in the films themselves….Rough Romance John Wayne, billed as Duke Morrison.” Page 315 & 31710
V. “[Cast] Duke Morrison.” Page 37411
VI. “Cast…John Wayne.” Page 3413
RUNNING HOLLYWOOD (Universal 1932)
I. Guest at a pool party 20 minute short.7
II. Print in UCLA18
II. Print in UCLA18
SALUTE (1929)
I. “…..Ironically Ward Bond got screen credit and Duke did not. Duke wasn’t even mentioned by name in the reviews, and the closest he came to being acknowledged at all in his first talkie was an indirect reference in the August 21 issue of variety: … a good looking and well playing group of youngsters in this effort.” Page 86-871
II. “Salute (William Fox studios 1929)… Duke played a bit part as a naval cadet on and off the football field. He was billed as Duke Morrison.” Page 3901
III. Wayne and other football players from the 1929 USC team were paid $50 a week for participating in the film.” Page 3022
IV. “. . . Wayne joined Ward Bond and a number of football players that director John Ford had recruited from universities in the Los Angeles area to play out a complete game before the cameras. . . . Wayne also had some bits to play off the field as a cadet.” Page 223
V. “In one scene Ward Bond's character addresses Wayne's character as 'Bill'. Wayne appears throughout the film and has many small pieces of dialogue.”5
VI. “Cast….John Wayne (football player).” 8
VII. “Wayne, then known as Duke Morrison was unbilled.” Page 37411
VIII. “Wayne continued working in the prop department [Fox] and now and then as a stuntman. He also began to get bit parts in…Ford films such as Salute.” Page 1213
IX. “Cast:…John Wayne.” Page 3213
X. “[Duke] did stunts for George O’Brien.”17
II. “Salute (William Fox studios 1929)… Duke played a bit part as a naval cadet on and off the football field. He was billed as Duke Morrison.” Page 3901
III. Wayne and other football players from the 1929 USC team were paid $50 a week for participating in the film.” Page 3022
IV. “. . . Wayne joined Ward Bond and a number of football players that director John Ford had recruited from universities in the Los Angeles area to play out a complete game before the cameras. . . . Wayne also had some bits to play off the field as a cadet.” Page 223
V. “In one scene Ward Bond's character addresses Wayne's character as 'Bill'. Wayne appears throughout the film and has many small pieces of dialogue.”5
VI. “Cast….John Wayne (football player).” 8
VII. “Wayne, then known as Duke Morrison was unbilled.” Page 37411
VIII. “Wayne continued working in the prop department [Fox] and now and then as a stuntman. He also began to get bit parts in…Ford films such as Salute.” Page 1213
IX. “Cast:…John Wayne.” Page 3213
X. “[Duke] did stunts for George O’Brien.”17
SEEING STARS (Mermaid Comedies/ Educational Film Exchanges 1927)
I. To the best of our knowledge this film no longer exists today. However, at least one still from the film does, and it clearly shows a very young John Wayne (known as Duke Morrison at that time) as a background extra.
THE SHAMROCK HANDICAP (FOX 1926)
I. This film is available on home DVD, and a print exists in the archives of the Museum of Modern Art.
II. John Wayne appears briefly in a crowd scene near the end of the film. From the expression on his face, one might come to the conclusion that he suddenly realized that he was on camera and in a place where he was not supposed to be. Be that as it may, however, he can still be clearly seen on film.
II. John Wayne appears briefly in a crowd scene near the end of the film. From the expression on his face, one might come to the conclusion that he suddenly realized that he was on camera and in a place where he was not supposed to be. Be that as it may, however, he can still be clearly seen on film.
Speakeasy (Fox 1929)
I. ”Wayne was assigned to this film as a third or fourth assistant property man.” Page 3372
II. “As an extra” Page 7014
III. American Film Institute list cast “Lola Lane (Alice Woods), Paul Page (Paul Martin). Directed by Benjamin Stoloff.”8
IV. No print has been viewed by the American Film Institute.8
II. “As an extra” Page 7014
III. American Film Institute list cast “Lola Lane (Alice Woods), Paul Page (Paul Martin). Directed by Benjamin Stoloff.”8
IV. No print has been viewed by the American Film Institute.8
Strong Boy (Fox 1929)
I. “Wayne was an extra and worked as a propman.” Page 3462
II. American Film Institute list cast “Victor McLaglen (Strong boy), Leatrice Joy (Mary McGregor). Directed by John Ford.”8
III. No print has been viewed by the American Film Institute.8
IV. “I think Fred [Landesman] and I discovered a reference or two that mentioned "Strong Boy" with Vic McLaglen and directed by Ford late in the Big Trail's run. Along with films like "The Black Watch" and "Born Reckless," also mentioned in connection with the Duke, they represent that period at Fox when Duke was doing whatever propping and extra work he could, especially for Ford. It is likely that, like "Mother Machree," Duke was probably involved behind the camera and not on screen. Tim [Lilley].”9
V. “It is interesting to note that once Wayne was introduced to Ford, he worked on 3 pictures in a row with the director: “MOTHER MACHREE,” “FOUR SONS,” and “HANGMAN’S HOUSE.” His next recorded work with Ford comes over a year later with “SALUTE,” and “MEN WITHOUT WOMEN” (Fox – 1930). In between the films listed above, Ford directed three other pictures: “NAPLOEON’S BARBER,” (Fox-1928), “RILEY THE COP” (Fox-1928), and “STRONG BOY” (Fox -1929). It is not hard to believe that Wayne could have worked on one or more of these films, knowing the liking the director had taken to the earnest young man.” Vol VI, No 1, June 19899
VI. “From “HANGMAN’S HOUSE” released in spring of 1928 until Ford began work on “SALUTE” the following spring, there is a gap of a year in which we have no definite film work recorded. This would have been the year following his full-time employment in the fall of ’27. Even allowing for the possibility that the young prop man took some time off for reflection and adventure during this year, it is hard to believe that he worked on no films at all in what should have been his busiest year on the lot. The gap in our information suggests we still have much to learn.” Vol VI, No 1, June 19899
VII. A print of the trailer for this film is held by Academy of Motion Picture Arts and Sciences film archive.8
VIII. Possible print in Australia See www.silentera.com
II. American Film Institute list cast “Victor McLaglen (Strong boy), Leatrice Joy (Mary McGregor). Directed by John Ford.”8
III. No print has been viewed by the American Film Institute.8
IV. “I think Fred [Landesman] and I discovered a reference or two that mentioned "Strong Boy" with Vic McLaglen and directed by Ford late in the Big Trail's run. Along with films like "The Black Watch" and "Born Reckless," also mentioned in connection with the Duke, they represent that period at Fox when Duke was doing whatever propping and extra work he could, especially for Ford. It is likely that, like "Mother Machree," Duke was probably involved behind the camera and not on screen. Tim [Lilley].”9
V. “It is interesting to note that once Wayne was introduced to Ford, he worked on 3 pictures in a row with the director: “MOTHER MACHREE,” “FOUR SONS,” and “HANGMAN’S HOUSE.” His next recorded work with Ford comes over a year later with “SALUTE,” and “MEN WITHOUT WOMEN” (Fox – 1930). In between the films listed above, Ford directed three other pictures: “NAPLOEON’S BARBER,” (Fox-1928), “RILEY THE COP” (Fox-1928), and “STRONG BOY” (Fox -1929). It is not hard to believe that Wayne could have worked on one or more of these films, knowing the liking the director had taken to the earnest young man.” Vol VI, No 1, June 19899
VI. “From “HANGMAN’S HOUSE” released in spring of 1928 until Ford began work on “SALUTE” the following spring, there is a gap of a year in which we have no definite film work recorded. This would have been the year following his full-time employment in the fall of ’27. Even allowing for the possibility that the young prop man took some time off for reflection and adventure during this year, it is hard to believe that he worked on no films at all in what should have been his busiest year on the lot. The gap in our information suggests we still have much to learn.” Vol VI, No 1, June 19899
VII. A print of the trailer for this film is held by Academy of Motion Picture Arts and Sciences film archive.8
VIII. Possible print in Australia See www.silentera.com
SWEETHEART OF SIGMA CHI (1933)
I. “Wayne’s one scene in the film (with a moustache) was edited out of the final print. [Photograph showing JW in this role appears on page 348].” Page 3901
II. “Note: although a contemporary news item in HR [Hollywood Reporter] noted that John Wayne had been cast in the film, he did not appear in the final print.”8
III. American Film Institute list cast “Mary Carlisle, Buster Crabbe, Charles Starrett , Eddie Tamblyn. Directed by Edwin L. Marin”8
IV. No print has been viewed by the American Film Institute.8
V. This film has been viewed by the authors, however the quality is so poor that we were unable to say if John Wayne can be seen in this film or not. We were able to establish that John Wayne’s name does not appear in the opening or closing credits of this film.
II. “Note: although a contemporary news item in HR [Hollywood Reporter] noted that John Wayne had been cast in the film, he did not appear in the final print.”8
III. American Film Institute list cast “Mary Carlisle, Buster Crabbe, Charles Starrett , Eddie Tamblyn. Directed by Edwin L. Marin”8
IV. No print has been viewed by the American Film Institute.8
V. This film has been viewed by the authors, however the quality is so poor that we were unable to say if John Wayne can be seen in this film or not. We were able to establish that John Wayne’s name does not appear in the opening or closing credits of this film.
That's My Boy (Columbia 1932)
I. “Wayne's role in the film may be confined to stock footage utilized from the earlier Columbia film Maker of Men. Wayne is Taylor, the star player of the Harvard team, who is shown carrying and kicking the ball.” Page 358 2
II. American Film Institute list cast “Richard Cromwell, Dorothy Jordan, Mae Marsh. Directed by Roy William Neill”8
III. No print has been viewed by the American Film Institute. 8
IV. Print held in Library of Congress.21
II. American Film Institute list cast “Richard Cromwell, Dorothy Jordan, Mae Marsh. Directed by Roy William Neill”8
III. No print has been viewed by the American Film Institute. 8
IV. Print held in Library of Congress.21
I. “As Gordon Wales” Page 1101
II. American Film Institute catalogue lists cast “John Wayne (Gordon Wales), Loretta Young, Joan Marsh, Joyce Compton, Lew Cody, Paul Fix. Directed by Sidney Lanfield” 8
III. An incomplete print has been viewed by the American Film Institute. 8
IV. Incomplete print in UCLA18
II. American Film Institute catalogue lists cast “John Wayne (Gordon Wales), Loretta Young, Joan Marsh, Joyce Compton, Lew Cody, Paul Fix. Directed by Sidney Lanfield” 8
III. An incomplete print has been viewed by the American Film Institute. 8
IV. Incomplete print in UCLA18
VOICE OF HOLLYWOOD #13, the (Tiffany 1932)
I. “Duke was the emcee for this 12 minute short.” Page 3921
II. Print held in Library of Congress.21
II. Print held in Library of Congress.21
WOMEN OF ALL NATIONS (1931)
I. “The rare Fox production was originally 95 minutes but was cut to 72 minutes before release, eliminating small roles by both Humphrey Bogart and John Wayne (still visible in the background!). It was recently restored (still at 72 minutes) by UCLA.” (Michael J. Weldon)6
II. "Of all the "possible" titles linked to John Wayne, WOMEN OF ALL NATIONS seems the unlikeliest candidates, even with the availability of existing copies to view. One source that tied the Duke's name to the project was Foothill Video of California. Its owner informed one of our readers that researchers at UCLA who had worked on a restoration of the film contended that it was none other than an un-credited John Wayne, in heavy makeup and a wig, playing Olaf, the giant, lovesick-crazed, Swedish boyfriend of the heroine. The copy I have is of poor quality; I can't spot anything in the mannerisms and vocalizations of this character to make me confident that I am watching John Wayne. Is it possible? I suppose so. But Wayne would have been in his last few weeks of employment for the Fox studios when WOMEN began shooting in February of '31. Could Director Walsh have thrown his Big Trail protégé a small part as he faced the news that Fox would not be renewing his contract? Bears thinking.” Volume 15 No, 59
II. "Of all the "possible" titles linked to John Wayne, WOMEN OF ALL NATIONS seems the unlikeliest candidates, even with the availability of existing copies to view. One source that tied the Duke's name to the project was Foothill Video of California. Its owner informed one of our readers that researchers at UCLA who had worked on a restoration of the film contended that it was none other than an un-credited John Wayne, in heavy makeup and a wig, playing Olaf, the giant, lovesick-crazed, Swedish boyfriend of the heroine. The copy I have is of poor quality; I can't spot anything in the mannerisms and vocalizations of this character to make me confident that I am watching John Wayne. Is it possible? I suppose so. But Wayne would have been in his last few weeks of employment for the Fox studios when WOMEN began shooting in February of '31. Could Director Walsh have thrown his Big Trail protégé a small part as he faced the news that Fox would not be renewing his contract? Bears thinking.” Volume 15 No, 59
WORDS AND MUSIC (Fox 1929)
I. “Duke received his first on-screen credit in this college musical, he was billed as DUKE MORRISON [playing Pete Donahue].” Page 3901
II. American Film Institute lists cast “Lois Moran, David Percy, Helen Twelvetrees, Duke Morrison (Pete Donahue). Directed by James Tinling.”8
III. No print has been viewed by the American Film Institute. 8
IV. “[Duke] got his first screen billing as Duke Morrison in 1929 film Words and Music.”17
II. American Film Institute lists cast “Lois Moran, David Percy, Helen Twelvetrees, Duke Morrison (Pete Donahue). Directed by James Tinling.”8
III. No print has been viewed by the American Film Institute. 8
IV. “[Duke] got his first screen billing as Duke Morrison in 1929 film Words and Music.”17
REFERENCES:
1 Shepherd, Donald and Slatzer, Robert with Grayson, Dave. Duke the Life and times of John Wayne, Sphere books UK, 1986. ISBN 0751507814.
Donald Shepherd, Robert Slatzer and Dave Grayson were all personal friends of John Wayne.
Slatzer (as Robert F Slatzer) was the director of No Substitute for victory, a documentary in which John Wayne was the narrator. Dave Grayson, as John Wayne’s personal make up artist was on set with Duke for every film he made in the last 15 years of his life. Mr. Grayson kept extensive journals, which together with his personal recollections, were used in this book.
2 Landesman, Fred. The John Wayne Filmography, McFarland & Company, Inc., 2007. ISBN 0786432527.
3 Eyles, Allen. John Wayne and the Movies, A. S. Barnes, 1976. ISBN 9780498014499.
4 Roberts, Randy and Olson, James S. John Wayne American, Free Press, 1995. ISBN 9780029238370.
5 http://dukefilmography.com/john_wayne_dvd_filmography.html
6 http://www.psychotronic.com/site/sites/default/files/reviews/30s_sk-z.pdf
7 http://www.silentcomedians.com/forum/viewtopic.php?t=546
8 http://www.afi.com/members/catalog/
9 Lilley, Tim. Author: Trail Beyond, an annual publication on the films of John Wayne and The Big Trail a bi-monthly newsletter dedicated to the films of John Wayne, published 1984 – 1999 by Tim Lilley, Akron, Ohio.
10 McGhee, Richard D. John Wayne Actor, Artist, Hero. McFarland, 1990. ISBN 0786407522
11 Munn, Michael. John Wayne the Man Behind the Myth. Robson books UK, 2004. ISBN 1861057229
12 Shaw, Sam. John Wayne in the Camera Eye. Hamlyn, 1980. ISBN 0600341607
13 Ricci, Mark and Zmijewsy, Boris and Zmijewsy, Steve. The Complete Films of John Wayne. Citadel press, 1996. ISBN 0806509457
14 "Hollywood, the Early Years. The Young Duke, Wayne before Stagecoach" Video documentary "produced for Wonderland Entertainment Ltd. by E.P.A. International". (c) 1991 E.P.A. International Distributors Ltd. Narrated and hosted by Bob Sessions.
15 American Cowboy magazine, January/February 2007
16 "Hollywood’s Leading Men" Video documentary 1996 passport home video, a seven VHS set entitled "Hollywood’s leading men the star biography series”
17 "John Wayne Story the Early Years" Video documentary 2001 GT Media
18 www.cinema.ucla.edu
19 Miller Lee O, The Great Cowboy Stars of Movies & Television. Arlington House Publishers, 1979. ISBN 0-87000-429-8
20 Gallagher Tag. John Ford The Man And His Films. University of California press, 1986. ISBN 978-0520063341
21 Email correspondence with Rosemary Hanes, Reference Librarian, Moving Image Section, Library of
Congress. [email protected]
22 Reid Elly, "Masquers Club of Hollywood" 2012
23 Bogdanovich, Peter, Who the Hell's In It?: Conversations with Legendary Film Stars. Faber and Faber, 2005. ISBN 978-0571224319
24 Reid Elly, "Lloyd Hamilton Selected Filmography" 2012
25 http://wikimapia.org/6830519/Movie-studio-historical-site-Kalem-Studios
26 Reid Elly, "Hollywood Athletic Club" 2012
27 Travers, Steven, The USC Trojans: College Football's All-Time Greatest Dynasty. Taylor Trade Publishing. 2006. ISBN 978-1589793569
28 http://articles.glendalenewspress.com/2007-05-25/news/gnp-yamada25_1_harvard-street-glendale-high-school-verdugo-road
29 Elliott, The Duke - America’s Royalty. Glendale Evening Press, June 11, 1979.
30 Zolotow, Maurice. John Wayne: Shooting Star: A Biography, W.H. Allen, 1974. ISBN: 9780491012003
31 http://dukefanclub.blogspot.co.uk/2012/04/open-letter-to-richard-m-roberts-and.html
1 Shepherd, Donald and Slatzer, Robert with Grayson, Dave. Duke the Life and times of John Wayne, Sphere books UK, 1986. ISBN 0751507814.
Donald Shepherd, Robert Slatzer and Dave Grayson were all personal friends of John Wayne.
Slatzer (as Robert F Slatzer) was the director of No Substitute for victory, a documentary in which John Wayne was the narrator. Dave Grayson, as John Wayne’s personal make up artist was on set with Duke for every film he made in the last 15 years of his life. Mr. Grayson kept extensive journals, which together with his personal recollections, were used in this book.
2 Landesman, Fred. The John Wayne Filmography, McFarland & Company, Inc., 2007. ISBN 0786432527.
3 Eyles, Allen. John Wayne and the Movies, A. S. Barnes, 1976. ISBN 9780498014499.
4 Roberts, Randy and Olson, James S. John Wayne American, Free Press, 1995. ISBN 9780029238370.
5 http://dukefilmography.com/john_wayne_dvd_filmography.html
6 http://www.psychotronic.com/site/sites/default/files/reviews/30s_sk-z.pdf
7 http://www.silentcomedians.com/forum/viewtopic.php?t=546
8 http://www.afi.com/members/catalog/
9 Lilley, Tim. Author: Trail Beyond, an annual publication on the films of John Wayne and The Big Trail a bi-monthly newsletter dedicated to the films of John Wayne, published 1984 – 1999 by Tim Lilley, Akron, Ohio.
10 McGhee, Richard D. John Wayne Actor, Artist, Hero. McFarland, 1990. ISBN 0786407522
11 Munn, Michael. John Wayne the Man Behind the Myth. Robson books UK, 2004. ISBN 1861057229
12 Shaw, Sam. John Wayne in the Camera Eye. Hamlyn, 1980. ISBN 0600341607
13 Ricci, Mark and Zmijewsy, Boris and Zmijewsy, Steve. The Complete Films of John Wayne. Citadel press, 1996. ISBN 0806509457
14 "Hollywood, the Early Years. The Young Duke, Wayne before Stagecoach" Video documentary "produced for Wonderland Entertainment Ltd. by E.P.A. International". (c) 1991 E.P.A. International Distributors Ltd. Narrated and hosted by Bob Sessions.
15 American Cowboy magazine, January/February 2007
16 "Hollywood’s Leading Men" Video documentary 1996 passport home video, a seven VHS set entitled "Hollywood’s leading men the star biography series”
17 "John Wayne Story the Early Years" Video documentary 2001 GT Media
18 www.cinema.ucla.edu
19 Miller Lee O, The Great Cowboy Stars of Movies & Television. Arlington House Publishers, 1979. ISBN 0-87000-429-8
20 Gallagher Tag. John Ford The Man And His Films. University of California press, 1986. ISBN 978-0520063341
21 Email correspondence with Rosemary Hanes, Reference Librarian, Moving Image Section, Library of
Congress. [email protected]
22 Reid Elly, "Masquers Club of Hollywood" 2012
23 Bogdanovich, Peter, Who the Hell's In It?: Conversations with Legendary Film Stars. Faber and Faber, 2005. ISBN 978-0571224319
24 Reid Elly, "Lloyd Hamilton Selected Filmography" 2012
25 http://wikimapia.org/6830519/Movie-studio-historical-site-Kalem-Studios
26 Reid Elly, "Hollywood Athletic Club" 2012
27 Travers, Steven, The USC Trojans: College Football's All-Time Greatest Dynasty. Taylor Trade Publishing. 2006. ISBN 978-1589793569
28 http://articles.glendalenewspress.com/2007-05-25/news/gnp-yamada25_1_harvard-street-glendale-high-school-verdugo-road
29 Elliott, The Duke - America’s Royalty. Glendale Evening Press, June 11, 1979.
30 Zolotow, Maurice. John Wayne: Shooting Star: A Biography, W.H. Allen, 1974. ISBN: 9780491012003
31 http://dukefanclub.blogspot.co.uk/2012/04/open-letter-to-richard-m-roberts-and.html
Appendix #1: Uncredited (and often
unknown) John Wayne Roles
Source Notes:
1. “Cinderella Boy”, The Des Moines Register and Tribune, May 12, 1930, Reprinted in The Trail Beyond #1, Big Trail Publishing, Tim Lilley, pp51-52
2. “Strong Boy Muscles its way into the John Wayne Filmography”, The Trail Beyond #1, Big Trail Publishing, Tim Lilley, pp53-56
The Drop Kick: “Wayne was one of ten college football players (from Stanford, USC and UCLA), selected to appear as stand-ins and extras in the grandstands . . . .” (TJWF). The Forward Pass: extra. Four Sons: “Wayne worked as an assistant property man and may have participated as an extra in any one of the street sequences.” (TJWF). As an extra playing an officer (IMDb). The documentary The Duke at Fox confirms that Wayne played a police officer in a street scene. The Great K & A Train Robbery: “A young Wayne and several other USC teammates were hired to exercise with [Tom] Mix, keeping the star in shape, while the actor filmed on location. Once in Colorado, the young college athletes barely saw Mix, as their tasks were redirected towards the moving of props and driving vehicles.” (TJWF). “He propped the film, and that was it.” (JWA, although the book contradicts this in its own filmography, which says he played an extra). Hangman's House: “Wayne appeared in two sequences, of which only one survived the editing process.” (TJWF). “. . . Wayne is clearly visible in four shots, two of them centered on him.” (JWATM). Wayne also appears blindfolded in a dream sequence as a condemned man hanging from a rope, and in silhouette on the gallows; also as a person carrying what appears to be a doctor's bag. The Lone Star Ranger: As a wrangler, stunt double and bit player (TJWF). Men Without Women: “Besides being a prop man, [Wayne] drew extra pay as a stuntman during the diving sequences, was a sailor in the hapless submarine and played a radio operator on the rescue ship.” (TJWF). “[Wayne] had four or five lines to speak . . . .” (JWATM). Mother Machree: Prop man and extra. Noah's Ark: “Wayne and Andy Devine were hired as stunt swimmers.” (TJWF). Rough Romance: “Wayne, as a card player, is visible in two scenes and has one line of dialogue.” (TJWF). Salute: “. . . Wayne joined Ward Bond and a number of football players that director John Ford had recruited from universities in the Los Angeles area to play out a complete game before the cameras. . . . Wayne also had some bits to play off the field as a cadet.” (JWATM). In one scene Ward Bond's character addresses Wayne's character as 'Bill'. Wayne appears throughout the film and has many small pieces of dialogue. Speakeasy: “. . . Wayne was assigned to this film as a third or fourth assistant property man.” (TJWF). As an extra (JWA). Strong Boy: “Wayne was an extra and worked as a prop man.” (TJWF). Sweetheart of Sigma Chi: “Wayne's one scene in the film (with a mustache) was edited out of the final print.” (TJWF). That's My Boy: “Wayne's role in the film may be confined to stock footage utilized from the earlier Columbia film Maker of Men. Wayne is Taylor, the star player of the Harvard team, who is shown carrying and kicking the ball.” (TJWF). Women of All Nations: “The rare Fox production was originally 95 mins. but was cut to 72 mins. before release, eliminating small roles by both Humphrey Bogart and John Wayne (still visible in the background)! It was recently restored (still at 72 mins) by UCLA.” (Michael J. Weldon). http://dukefilmography.com/john_wayne_dvd_filmography.html
3. Morrison began working at Fox in the summer before his sophomore year of 1926, lugging around furniture and other props and serving as a general handyman for such directors as Raoul Walsh and Frank Borzage. He soon caught the eye of Ford. (Joseph McBride in Searching for John Ford)
4. "John Wayne propped for Eddie (Edward) Nugent at MGM and Curtis Gibson at Fox." (The San Mateo Times and Daily News Leader, Dec 16, 1930, page 16) [NOTE: Edward Nugent was an actor, not a director and only acted in a handful of films (9) at MGM. I cannot find any references whatsoever to any director named “Curtis Gibson” at Fox or anywhere else.]
1. “Cinderella Boy”, The Des Moines Register and Tribune, May 12, 1930, Reprinted in The Trail Beyond #1, Big Trail Publishing, Tim Lilley, pp51-52
2. “Strong Boy Muscles its way into the John Wayne Filmography”, The Trail Beyond #1, Big Trail Publishing, Tim Lilley, pp53-56
The Drop Kick: “Wayne was one of ten college football players (from Stanford, USC and UCLA), selected to appear as stand-ins and extras in the grandstands . . . .” (TJWF). The Forward Pass: extra. Four Sons: “Wayne worked as an assistant property man and may have participated as an extra in any one of the street sequences.” (TJWF). As an extra playing an officer (IMDb). The documentary The Duke at Fox confirms that Wayne played a police officer in a street scene. The Great K & A Train Robbery: “A young Wayne and several other USC teammates were hired to exercise with [Tom] Mix, keeping the star in shape, while the actor filmed on location. Once in Colorado, the young college athletes barely saw Mix, as their tasks were redirected towards the moving of props and driving vehicles.” (TJWF). “He propped the film, and that was it.” (JWA, although the book contradicts this in its own filmography, which says he played an extra). Hangman's House: “Wayne appeared in two sequences, of which only one survived the editing process.” (TJWF). “. . . Wayne is clearly visible in four shots, two of them centered on him.” (JWATM). Wayne also appears blindfolded in a dream sequence as a condemned man hanging from a rope, and in silhouette on the gallows; also as a person carrying what appears to be a doctor's bag. The Lone Star Ranger: As a wrangler, stunt double and bit player (TJWF). Men Without Women: “Besides being a prop man, [Wayne] drew extra pay as a stuntman during the diving sequences, was a sailor in the hapless submarine and played a radio operator on the rescue ship.” (TJWF). “[Wayne] had four or five lines to speak . . . .” (JWATM). Mother Machree: Prop man and extra. Noah's Ark: “Wayne and Andy Devine were hired as stunt swimmers.” (TJWF). Rough Romance: “Wayne, as a card player, is visible in two scenes and has one line of dialogue.” (TJWF). Salute: “. . . Wayne joined Ward Bond and a number of football players that director John Ford had recruited from universities in the Los Angeles area to play out a complete game before the cameras. . . . Wayne also had some bits to play off the field as a cadet.” (JWATM). In one scene Ward Bond's character addresses Wayne's character as 'Bill'. Wayne appears throughout the film and has many small pieces of dialogue. Speakeasy: “. . . Wayne was assigned to this film as a third or fourth assistant property man.” (TJWF). As an extra (JWA). Strong Boy: “Wayne was an extra and worked as a prop man.” (TJWF). Sweetheart of Sigma Chi: “Wayne's one scene in the film (with a mustache) was edited out of the final print.” (TJWF). That's My Boy: “Wayne's role in the film may be confined to stock footage utilized from the earlier Columbia film Maker of Men. Wayne is Taylor, the star player of the Harvard team, who is shown carrying and kicking the ball.” (TJWF). Women of All Nations: “The rare Fox production was originally 95 mins. but was cut to 72 mins. before release, eliminating small roles by both Humphrey Bogart and John Wayne (still visible in the background)! It was recently restored (still at 72 mins) by UCLA.” (Michael J. Weldon). http://dukefilmography.com/john_wayne_dvd_filmography.html
3. Morrison began working at Fox in the summer before his sophomore year of 1926, lugging around furniture and other props and serving as a general handyman for such directors as Raoul Walsh and Frank Borzage. He soon caught the eye of Ford. (Joseph McBride in Searching for John Ford)
4. "John Wayne propped for Eddie (Edward) Nugent at MGM and Curtis Gibson at Fox." (The San Mateo Times and Daily News Leader, Dec 16, 1930, page 16) [NOTE: Edward Nugent was an actor, not a director and only acted in a handful of films (9) at MGM. I cannot find any references whatsoever to any director named “Curtis Gibson” at Fox or anywhere else.]
Appendix #2: Duke Morrison’s Glendale. A list of Glendale addresses relating to John Wayne:
John Wayne’s Glendale Home Addresses
1915: 421 South Isabel Street. Page 896 Rented property 1916 Page 3114
1916: 315 South Geneva Street: 7 Rented property 1917. Page 3814
1917: 443 West Colorado Boulevard.4 Rented property 1917. Page 3814
1918: West Broadway. – “After they lost the house at 404 North Isabel street they rented this apartment above the Glendale pharmacy.” Page 3814
1920: 404 North Isabel street.3 Bought this property in 1918 and lost it the same year. Page 3814
1920: 815 South Central Avenue.8
1920 – 1921: 313 South Garfield Avenue. Bought this property in 1920 and lost it in 1921. Page 3814
1921: 815 East Garfield. Rented property 1921 Page 3814
1922 – 1923: 129 South Kenwood.9
1924: 245 South Orange Street.10
1926: 207 West Windsor Street [Road]. Page 6114
237 South Orange Street. Page 1915
Louise Street. Page 1915
Reynolds street Page 1915
1915: 421 South Isabel Street. Page 896 Rented property 1916 Page 3114
1916: 315 South Geneva Street: 7 Rented property 1917. Page 3814
1917: 443 West Colorado Boulevard.4 Rented property 1917. Page 3814
1918: West Broadway. – “After they lost the house at 404 North Isabel street they rented this apartment above the Glendale pharmacy.” Page 3814
1920: 404 North Isabel street.3 Bought this property in 1918 and lost it the same year. Page 3814
1920: 815 South Central Avenue.8
1920 – 1921: 313 South Garfield Avenue. Bought this property in 1920 and lost it in 1921. Page 3814
1921: 815 East Garfield. Rented property 1921 Page 3814
1922 – 1923: 129 South Kenwood.9
1924: 245 South Orange Street.10
1926: 207 West Windsor Street [Road]. Page 6114
237 South Orange Street. Page 1915
Louise Street. Page 1915
Reynolds street Page 1915
1916: Doran
elementary school, 744 East Doran Street, Glendale, Los Angeles County, California,
(Now Richardson D. White elementary school).16 Attended until
seventh grade. Page 1815
1918 - 1921 September, Wilson Intermediate School, Wilson Avenue (formerly Third Street), Glendale, Los Angeles County, California, enrolled in the eighth grade. Page 3814 “Morrison….attended Wilson Intermediate School, giving a graduation address in 1921.”13
“The school was known as Third Street Intermediate School when it first opened in 1911, located on the parking lot of what today is the district Administration Center. In those days Wilson Avenue was called Third Street. One of the school's first principals was Richardson D. White, as in today's R.D. White Elementary School. White was later district superintendent. Originally, Third Street School accommodated only seventh and eighth graders in a two story brick structure with six classrooms and an auditorium. Later, eight classrooms were added. In 1913, Third Street was renamed Wilson Avenue by the City of Glendale. Thus, the name of the school was changed accordingly. In 1926, the Board of Education decided to rename the campus after former President Woodrow Wilson, who had died two years prior.” http://www.wilsonknights.org/domain/17
1921 – 1925 Glendale Union High school, Harvard Street and 1440 Broadway Avenue East, Glendale, Los Angeles County, California. The Harvard Street School continued to operate until 1937, At Broadway and Verdugo, the first high school classes met in 1924. Entered as a freshman. Page 4414 Graduated May 1925.
1925 September -1927 May USC
1918 - 1921 September, Wilson Intermediate School, Wilson Avenue (formerly Third Street), Glendale, Los Angeles County, California, enrolled in the eighth grade. Page 3814 “Morrison….attended Wilson Intermediate School, giving a graduation address in 1921.”13
“The school was known as Third Street Intermediate School when it first opened in 1911, located on the parking lot of what today is the district Administration Center. In those days Wilson Avenue was called Third Street. One of the school's first principals was Richardson D. White, as in today's R.D. White Elementary School. White was later district superintendent. Originally, Third Street School accommodated only seventh and eighth graders in a two story brick structure with six classrooms and an auditorium. Later, eight classrooms were added. In 1913, Third Street was renamed Wilson Avenue by the City of Glendale. Thus, the name of the school was changed accordingly. In 1926, the Board of Education decided to rename the campus after former President Woodrow Wilson, who had died two years prior.” http://www.wilsonknights.org/domain/17
1921 – 1925 Glendale Union High school, Harvard Street and 1440 Broadway Avenue East, Glendale, Los Angeles County, California. The Harvard Street School continued to operate until 1937, At Broadway and Verdugo, the first high school classes met in 1924. Entered as a freshman. Page 4414 Graduated May 1925.
1925 September -1927 May USC
Other Important John Wayne Related Glendale Address:
Baird & Echols Pharmacy, located at the corner of Brand Blvd and Broadway in Glendale (100-102 East Broadway). Clyde Morrison worked here. Page 2915 John Wayne also worked here delivering prescriptions. Believed to be on the corner of Brand Blvd and Broadway in Glendale. The building was likely the Roberts and Echols building, which housed the Roberts & Echols Pharmacy. This pharmacy later became the Baird & Echols Pharmacy and then the Baird and Morrison Pharmacy after Clyde became a partner in the concern. The building was later torn down in the early 1960’s and a new six-story building was erected.
Glendale Pharmacy, West Broadway, Glendale, Los Angeles, California. Clyde Morrison worked here. Page 3714 John Wayne also worked here delivering prescriptions. Page 4114
Jensen Pharmacy: Clyde worked here for the Jensen family, who also owned the Palace Grand Theatre. John Wayne worked for the Jensen Pharmacy delivering prescriptions. Page 4214
Fire Department station No. 1, 311 East Broadway, Glendale, Los Angeles, California. Little Marion and his dog, ‘Duke’, liked to hang around with the firemen. It was here that they gave him his life long nickname, Duke, which they started calling him. He was nicknamed after his dog.13 The date of this is quoted as 1918. Page 3714
Glendale Theatre, 122 South Brand Boulevard (Formerly West Fourth Street), Glendale, Los Angeles, California. Built in 1910 and the new Glendale theater was built in 1920 at 124 South Grand Avenue “Duke went as often as he could.” Page 4214
Palace Grand Theatre, 319 South Brand Boulevard, Glendale, Los Angeles, California. Opened in 1914. Page 4214 John Wayne worked for the Jensen Pharmacy delivering prescriptions, and he also worked at the Palace Grand Theatre on Saturdays, which was owned by the same family. Page 2415
Of the buildings mentioned above, the Palace Grand Theater is an early Glendale landmark that unfortunately did not survive. It was located at 131 – 133 North Brand Boulevard (using Glendale’s then new street numbering system). It was purchased by TD&L around 1923. Some sources estimate that the Palace Grand was torn down before World War II, however, Jensen may have reconstructed portions of the theater or had found new construction adjacent, because a new storefront appeared in the 1920’s called “Jensen’s Arcade,” or “Jensen’s Palace Grand Shops.” http://losangelesrevisited.blogspot.com/2010/08/early-entertainment-complexes-of-henry.html
Baird & Echols Pharmacy, located at the corner of Brand Blvd and Broadway in Glendale (100-102 East Broadway). Clyde Morrison worked here. Page 2915 John Wayne also worked here delivering prescriptions. Believed to be on the corner of Brand Blvd and Broadway in Glendale. The building was likely the Roberts and Echols building, which housed the Roberts & Echols Pharmacy. This pharmacy later became the Baird & Echols Pharmacy and then the Baird and Morrison Pharmacy after Clyde became a partner in the concern. The building was later torn down in the early 1960’s and a new six-story building was erected.
Glendale Pharmacy, West Broadway, Glendale, Los Angeles, California. Clyde Morrison worked here. Page 3714 John Wayne also worked here delivering prescriptions. Page 4114
Jensen Pharmacy: Clyde worked here for the Jensen family, who also owned the Palace Grand Theatre. John Wayne worked for the Jensen Pharmacy delivering prescriptions. Page 4214
Fire Department station No. 1, 311 East Broadway, Glendale, Los Angeles, California. Little Marion and his dog, ‘Duke’, liked to hang around with the firemen. It was here that they gave him his life long nickname, Duke, which they started calling him. He was nicknamed after his dog.13 The date of this is quoted as 1918. Page 3714
Glendale Theatre, 122 South Brand Boulevard (Formerly West Fourth Street), Glendale, Los Angeles, California. Built in 1910 and the new Glendale theater was built in 1920 at 124 South Grand Avenue “Duke went as often as he could.” Page 4214
Palace Grand Theatre, 319 South Brand Boulevard, Glendale, Los Angeles, California. Opened in 1914. Page 4214 John Wayne worked for the Jensen Pharmacy delivering prescriptions, and he also worked at the Palace Grand Theatre on Saturdays, which was owned by the same family. Page 2415
Of the buildings mentioned above, the Palace Grand Theater is an early Glendale landmark that unfortunately did not survive. It was located at 131 – 133 North Brand Boulevard (using Glendale’s then new street numbering system). It was purchased by TD&L around 1923. Some sources estimate that the Palace Grand was torn down before World War II, however, Jensen may have reconstructed portions of the theater or had found new construction adjacent, because a new storefront appeared in the 1920’s called “Jensen’s Arcade,” or “Jensen’s Palace Grand Shops.” http://losangelesrevisited.blogspot.com/2010/08/early-entertainment-complexes-of-henry.html
REFERENCES
1. John Wayne birthplace museum www.johnwaynebirthplace.org
2. Certificate of birth record on file which states: Place of birth: Winterset, Madison County, Iowa, Full name of child: Marion Robert Morrison, Date of birth: 26 May 1907, Father: Clyde Morrison, Mother: Mary A. Morrison, Date of filing 31 December 1907.
3. 1920 Federal Census US.
4. WWI Draft Registration card signed by Clyde 1917.
5. 1910 Federal census Earlham, Madison Township, Madison County, Iowa.
6. 1915 Glendale city directory.
7. 1916 Glendale voters register at 315 Geneva Street.
8. 1920 Glendale voters register at 815 South central.
9. 1922 and 1923 Glendale voters register at 129 S Kenwood Street.
10. 1924 Glendale voters register at 245 S Orange Street.
11. Elliott, The Duke - America’s Royalty, Glendale Evening Press, June 11, 1979.
12. John Wayne, It Happened Like This, American Weekly, November 7, 1954.
13. Landesman, Fred. The John Wayne Filmography, McFarland & Company, Inc., 2007. ISBN 0786432527.
14. Roberts, Randy and Olson, James S. John Wayne American, Free Press, 1995. ISBN 9780029238370.
15. Zolotow, Maurice. John Wayne: Shooting star: a biography, W.H. Allen, 1974. ISBN: 9780491012003
16. http://articles.glendalenewspress.com/2007-05-25/news/gnp-yamada25_1_harvard-street-glendale-high-school-verdugo-road