Emory Johnson

Broncho Billy

In 1912, Emory was taking an outing through scenic Niles Canyon in California. While driving, he heard noises like gunfire. Suddenly, "a gang of cowboys rode up, firing at a stagecoach."[4] He had "stumbled" across a film crew shooting a new silent Western movie. The Essanay Studios based in Niles, was creating one of their famous Broncho Billy westerns.

These early western films would feature the first cowboy star of the silver screen – Gilbert Anderson. All future western movie stars would owe debt to this pioneer. At the time, Essanay Studios were co-owned by Anderson and George K. Spoor.[5][6]

Emory became enthralled with the movie-making business. He started hanging around the film crews, offering to do odd jobs. Eventually, the founder of Essanay – Gilbert Anderson noticed Emory. In September 1912, Anderson offered to give the 19-year-old an entry-level job as an assistant cameraman paying $8.50 per week. His new job would allow him to learn about the movie business from the ground up.[4][7]

To support their son, Emory's parents moved into one of the new Essanay company bungalows.[8]

By September 1913, Essanay's latest " most handsome actor"[8] had signed a movie contract. He was landing bigger parts in Essanay Westerns.[7] He made a total of four Western shorts in 1913.

In 1914, Emory spent the year honing his acting chops by making nineteen films for Essanay. The year would mark his first top billing in a short drama film titled Italian Love. Later, he would earn another top billing in a short comedy, The Warning. His costar was Marguerite Clayton who was Broncho Billy's first leading lady. He would also continue to act in more Broncho Billy westerns. He also earned roles in the Snakeville comedy series and the Sophie series of comedies.

His last film Emory made for Essanay was a Broncho Billy short Western released in June 1914. Emory Johnson would act in 23 short films for Essanay, including nine Broncho Billy Westerns.

Essanay's embrace of short films would take its toll. Moviegoers were beginning to request more feature-length films. Essanay claimed they were not equipped to handle that type of change. Emory Johnson's last film for Essanay was released in June 1914. After a brief respite in 1915, the Niles Essanay studio closed and locked its doors On February 16, 1916.[9]

Emory's last film for Essanay was released in June 1914. There would be a year's lapse before he would release his next film. In 1915, Emory turned 21 years old and invested in his own motion picture company – Liberty Motion Picture Company. Liberty Film Company was initially formed in June 1914 created and based in Germantown, Pennsylvania. The company reorganized in November 1914. The new owners relocated the offices and lots to San Mateo and Glendale, California. The Alaskan Millionaires that purchased the company had plenty of cash and state-of-the-art facilities. Emory jumped from Essanay to Liberty films.

Because of his late start, Emory's film output dropped substantially. Emory made only four motion pictures in 1915. His first was His Masterpiece, a two-reeler released in September 1915, and Another two-reeler would follow – Her Devoted Son (Several alternative listings show Devoted Son). In the waning months of 1915, he acted in his last two films for Liberty. He would share top billing with Marguerite Clayton for making the feature films – The Birthmark and The Black Heart. Both films were Dramas. By December 1915, Emory had left Liberty.

In December 1915, a receiver was appointed. Liberty burned to the ground in 1916.[10][11]

In January 1916, Emory signed a contract with Universal Film Manufacturing Company. He would make 19 movies that year, including eight shorts and 11 feature-length Dramas. This year would become the highest movie output of his entire acting career.

At Universal, Emory met Hobart Bosworth. Hobart Bosworth was a well-known actor and director. He took young Emory under his wing.[4] Emory's first two movies for Universal were the Westerns – The Yaqui and Two Men of Sandy Bar. Both films were feature-length and starred Hobart Bosworth. Later in the year, Emory would make two more films with Hobart. They would continue to collaborate in other films in the coming years, including the last film Emory would direct. The film was the 1932 talkie The Phantom Express.

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In early 1916, after Emory Johnson had signed his Universal contract, Carl Laemmle of Universal Film Manufacturing Company thought he saw a potential leading man in Johnson. Laemmle was looking for a leading man comparable to Wally Reid. He was also hoping to create a movie couple that could make sparks fly on the silver screen. Laemmle chose Johnson to be his new leading man. Laemmle chose Dorothy Davenport to generate the screen chemistry with Johnson. She was a Universal contract player who happened to be the wife of Wally Reid. Johnson and Davenport made 14 films together. The series started with the feature production of Doctor Neighbor in May 1916 and ended with another feature production, The Devil's Bondwoman, in November 1916. Over half the films were shorts; almost all were dramas. Johnson and Davenport shared top billing in most. Davenport got pregnant in October 1916, and her film output took a steep nosedive at the beginning of 1917.[12]

In the end, Laemmle thought Johnson did not have the talent or screen presence he wanted. He wasn't going to become Universal's answer to Wally Reid. Laemmle also believed that even though the pairing with Davenport had been financially successful, the films didn't have the screen chemistry he had sought.[13][12]

The last movie of Emory and Ella

In March 1917, Emory Johnson turned 23 years old. He completes his WWI draft registration but claims exception due to a "Nervous heart" and "Chronic stomach trouble."[28] His 1917 film output drops to 4 pictures. He makes "The Gift Girl" released in March 1917. He puts three more in the can before June 1917. At the end of 1917, Emory and Ella Hall were cast together playing husband and wife in – "My Little Boy" The film was released in December 1917. They would make three more films together in 1918, including their last Universal film – "A Mothers Secret," which was released in April 1918.

In June 1918, Universal failed to renew the contracts of Ella Hall and Emory Johnson. The news was a minor announcement buried deep in the Hollywood rags.[29] In reality, Laemmle thought Emory did not have the talent or screen presence he wanted. He wasn't going to become Universal's answer to Wally Reid. After all, Wally Reid was well on his way to becoming "The screen's most perfect lover."[30] Ella Hall was pregnant with their first child at the time of their release. The last movie the couple filmed together also became Emory's last movie for Universal – A Mother's Secret. Ella's last movie for Universal was Three Mounted Men released in October 1918. Emory made 27 films for Universal, mostly dramas with a sprinkling of comedies and westerns.

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As explained previously, Emory's Universal contract ended in May 1918. Thus, in the middle of 1918, 24-year-old Emory Johnson became a free agent. He could now pick and choose his projects. Emory's first movie was released in August 1918. The movie was – Green Eyes with Dorothy Dalton. Next would follow the very successful Johanna Enlists with Mary Pickford. Then A Lady's Name with Constance Talmadge followed by The Ghost Flower with Alma Rubens.

In 1919, Emory acted in seven movies, including The Woman Next Door with Ethel Clayton. Emory ended 1919 with a role in the successful Alias Mike Moran featuring Wallace Reid and Ann Little.

In 1920, Emory acted in five films, including Polly of the Storm Country sharing top billing with Mildred Harris. Emory's film output for 1921 would be two films. In January 1921, he acted in Prisoners of Love starring Betty Compson. Finally, the successful The Sea Lion was released in December 1921. Emory shared top billing with Hobart Bosworth and Bessie Love.[31][32] It is noteworthy, the writing credit for the movie was his mother, Emilie Johnson. The movie credit would become Emilie's second writing credit after Blind Hearts.

During four years between June 1918 and June 1922, Emory bounced between 14 different production companies including such companies as Pickford Films, Chaplin-Mayer Picture Company, Famous Players-Lasky and Betty Compson Productions. Emory also acted with and often share top billing with the following leading ladies: Marguerite Clayton, Dorothy Davenport, Louise Lovely, Mary Pickford, Constance Talmadge, Ethel Clayton, Margarita Fischer, Mildred Harris, Ella Hall, Eileen Percy, Bebe Daniels, Bessie Love and Betty Compson.

Emory made the equivalent of indie films in the 1920s. 1922 proved to be a watershed year creatively and financially. First, the independent actor started the year with a March release of Don't Doubt Your Wife sharing top billing with Leah Baird. In July, Always the Woman starring Betty Compson was released. Now the year would head in a different direction.

A 28-year-old actor with no directing experience convinced a studio to let him direct and produce a melodrama written by his mother about a San Francisco beat cop. Emilie and her son had originally contracted with Robertson-Cole to write, produce and direct The Midnight Call. Then R-C was acquired by FBO. On July 1, 1922, the Robertson-Cole (R-C) Distribution company became known as FBO. All R-C contracts were honored especially with independent producers like Emory Johnson.[33]

The first Johnson collaboration under the renamed FBO contract was The Midnight Call. The film's title transformed into In the Name of the Law. The film was released in August 1922. Credit Emilie Johnson for both the story and screenplay for this melodrama. The story is about a San Francisco policeman trying to keep his family together while facing continuing adversity.[34][35]

When the movie finished, it laid the first building block towards attaining the title of "Hero of the Working Class." Admittedly, this wasn't the only reason FBO released the movie. They saw tremendous potential for exploitation. Making a movie about the working class opened itself for exploitation. Thus, Emory also cemented his reputation towards becoming the "King of Exploitation."[36]

The hit led to the next Emory Johnson file – The Third Alarm. In December, FBO released The Third Alarm formerly titled The Discard. This film is the second under the FBO contract. Emory directed this Emilie Johnson story.[37][38] The film would become the most financially successful movie produced in Emory Johnson's career. The movie earned Emory $275,000 (equivalent to $4,200,447 in 2019).[4]

Film Credits

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The third film in the FBO contract was The West~Bound Limited. Emilie Johnson wrote both the story and screenplay for this Emory Johnson film. The Film earned $225,697 (equivalent to $3,447,376 in 2019).[4][39][40]

The fourth film in the FBO contract was The Mailman. Once again, Emilie Johnson wrote both the story and the screenplay. Emory earned This movie earned Emory $179,476 (equivalent to $2,741,380 in 2019).[4][41] The mailman epitomizes an over-the-top melodrama and displays Emilie's flair for this genre.[42][43]

In September, Emilie and Emory Johnson sign a new contract with FBO. The contract was for 2 ½ years. Emory Johnson agreed to make eight attractions for FBO, including the previous four he had completed. FBO agreed to invest upwards of 2 ½ million dollars (In today's 2019 money – $37 million) on future productions.[44] Another part of the signed contract stipulated – "The contract also provides that Emory Johnson's mother, Mrs. Emilie Johnson, shall prepare all of the stories and write all the scripts for the Johnson attractions in addition to assisting her son in filming the productions."[44]

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The year started with the release in May of Emory Johnson's fifth film for FBO – Life's Greatest Game. Emilie Johnson had created a story about America's favorite pastime – baseball.[45][46]

Emory finished the year with the sixth film under the FBO contract – The Spirit of the USA. The film was released in December. Emilie wrote both the story and the screenplay.[47][48][49]

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The seventh film for the FBO contract was The Last Edition, released in October. This movie was Johnson's "last hurrah" for the working man series of movies.[50][51]

In March, Johnson released his last picture for FBO – The Non-Stop Flight.[52][53]

Emory and Emilie were then working on a movie titled Happiness. Work had supposedly started in December 1925. Emory, Emilie, and the cast and crew had sailed for Sweden to film the movie. The fate of the movie remains unknown.[54]

In April, FBO decided to let Emory and Emilie Johnson's contracts expire; there is not a published reason for this.[55]

In June, Emory Johnson signed a new eight-picture deal with Universal.[56]

The year also had a major tragedy. Emory and Ella's son was run over by a truck in Los Angeles. Alfred Bernard Johnson was only five years old when he died in March 1926. The couple was not living together at the time of his death. His death devastated both parents.[57]

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Johnson, now filming under his new Universal contact, released The Fourth Commandment.[58]

In September, he released The Lone Eagle.[59][60] This movie title is confusing, maybe even misleading. A film title cannot be protected by copyright.[61] In May 1927, Charles A. Lindberg completed his solo flight across the Atlantic. He acquired the nickname "The Lone Eagle". The Johnson movie The Lone Eagle had been originally titled War Eagles. The copyright office got involved and forced Universal to change the name.

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In February, Johnson released The Shield of Honor.[62][63]

After completing three successful movies for Universal, Johnson reneged on the remainder of his eight-picture contract. He negotiates a new contract with Poverty Row studio, Tiffany-Stahl Productions.[64][65] Tiffany-Stahl Productions was more than happy to sign Johnson. They knew his films always made a profit and that the Johnson brand on the marquee drew paying customers.

Movie-wise, the year was not productive for Johnson. He spent major portions of 1929 trying to reunite with Ella Hall to repair their marriage. Because they had lost their son, Alfred Bernard, in 1926, Emory and Ella decided to have one last child. Emory's daughter, Diana Marie (Dinie), was born in October 1929.[66]

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In November 1930, Emory Johnson released his first Tiffany-Stahl Productions contract production, The Third Alarm. Although its name was the same as the 1922 version, the similarity ended there. As the quote below shows, T–S was trying to capitalize on the popular 1922 film's name recognition. This film would become Johnson's first talkie.

A significant news item appeared in a 1930 issue of Variety magazine.

Emory Johnson, engaged by Tiffany to direct "The Third Alarm" on the strength of his silent film of the same title for FBO; has been off the picture since the first day's shooting. Martin Cohn, the editorial supervisor at Tiff, is finishing it, although direction credit will go to Johnson, beside a piece of the picture. Johnson objected to the supervision.

— Page 4 of the September 4, 1930 issue of, Variety Magazine[67]

Emory reneges on the remainder of his Tiffany contract and signs a new contract with Poverty Row studio – Majestic Pictures. Note – Tiffany-Stahl Productions filed for bankruptcy in 1932.

With his new contract in hand, Emory releases his first movie for Majestic Pictures – The Phantom Express. It would become the last movie he would ever direct. It was the final curtain call for Emory's independent directing years along with his mother's collaborative writing.[68][69] Emory was contracted to make one last picture for Majestic Pictures – Air Patrol, but the project never came to fruition.[70]

The movies Emory Johnson's completed or planned to start for poverty row studios had one common thread. The would-be remakes of previous successful silent films. For example, the 1930 version of The Third Alarm was supposed to be an updated version of the highly successful 1922 The Third Alarm. The new version would also be a Talkie. Using the same criteria, the 1932 film – The Phantom Express. This Talkie would be a remake of the moderately successful The West~Bound Limited. Even the canceled film – Air Patrol was supposed to be an updated sound version of The Shield of Honor.[71]

His life of luxury and high Society of Hollywood had caught up with him. On March 7, 1932, Emory Johnson filed for bankruptcy listing liabilities $4,500 and assets as $480.[72] It is possible a contributing reason for this bankruptcy was to lower support payments for Ella and kids.

Emory's mother Emilie died on September 23, 1941, in Los Angeles, California. She was 75. In 1944, Emory moved from Los Angeles to San Mateo, California. He established a photo portrait studio in the area – Portraits by Emory. The studio would close in 1950.