Beta Breuil | |
---|---|
Born | Elizabeth Donner Vanderveer 1876 New York City, U.S. |
Occupation | Screenwriter |
Years active | 1911–1918 |
Spouse(s) | Frank Milne Willard (m.1893, d.1904), Hartmann Breuil (m.1904, d.1908) |
Beta Breuil (born 1876, death unknown) was the professional name and pen name of American screenwriter Elizabeth Donner Vanderveer. Breuil worked as a script editor and screenwriter for several motion picture companies in the early 1900s.
Born in 1876 in New York City, Breuil was the daughter of Frank S. Vanderveer, a lawyer. [1] [2] Her family was well off and she attended schools in both New York City and Germany. [1]
On November 21, 1893, Breuil married Frank Milne Willard, who owned a forge business and was fairly wealthy. The two were about to divorce but Williard died before they could, in 1904. This caused something of a scandal after his death. [3] Breuil attempted to collect a life insurance policy, but was taken to court by his family. The story was written about in The New York Times under the headline "Death Prevented Divorce". [2]
Breuil remarried in 1904 to Hartmann Breuil, whose last name she kept for her professional title. Four years after they married, Hartmann Breuil died at the age of 36. After the death of two husbands, Beta Breuil turned to the entertainment industry to make a living. [1]
Breuil was over thirty when she started her professional career in the entertainment industry. She first attempted to find work as an actress in theater before she started work for the Vitagraph Company of America, a motion picture studio based in Brooklyn. [4] [5] According to a 1913 article in The New York Times, Breuil submitted scenarios to the Vitagraph Company and was subsequently hired as an assistant there in 1910. She worked her way up from assistant to head editor of the department in just four months. [5]
Vitagraph was known for its exceptional scenario department and the efficiency with which the staff read and approved or discarded potential manuscripts. [4] Breuil herself described the process as “weeding-out” the good manuscripts from the bad in an article she wrote for Moving Picture World, a film industry magazine, “All scripts are considered the day they arrive (arranging in numbers from seventy-five to one hundred a day), receiving sound judgment from two well trained readers. Those that are deemed worthwhile are submitted to the editor.” [6] A New York Times article confirms that Vitagraph received up to 500 manuscripts a week, which all went to the department headed by Breuil. [5] Some credited the productivity of this department to Breuil herself, by describing her as “the woman who organized and brought to a point of great efficiency the scenario department of the Vitagraph Company of America.” [4]
After Breuil quit the Vitagraph Company, she worked as a freelance worker, writing scenarios “to order.” [4] In 1914, she took the position of “artistic advisor” to the North American Film Corporation. Epes Winthrop Sargent described this position in Moving Picture World by writing, “Her undeniable talent is not limited to any particular line.... Here her genius for devising effects and working out ideas will have an absolutely unlimited scope, for she will have no one between herself and the company”. [7]
Between 1915 and 1916, Breuil worked on (and also may have directed, though this remains unclear) four films with the Eastern Film Company, titled Daisies, Wisteria, Violets, and My Lady of the Lilacs. [1] In 1916, she was also hired by the Mirror Films, Inc. to do “special work” on some of their films. [4]
Though she worked at these three companies for some years, few films exist that give her title credit, so it is unclear exactly how many projects she worked on. She was, however, listed as a screenwriter on three different films in 1918: When a Woman Sins , A Daughter of France, and Life or Honor? [1]
Breuil was well known and respected in the industry. [1] One industry member wrote of Breuil's short retirement in Moving Picture World, “[Breuil] has worked constantly for the last three years without cessation and is entitled to a little ‘loafing time’ before she again gets into the traces.... but we are going to miss Mrs. Breuil” [8]
In response to criticism of female scriptwriters, a 1913 article listed Breuil alongside Maibelle Heikes Justice, Hetty Gray Baker, and Gene Gauntier as an example of an excellent scriptwriter. The author cites Breuil as having completed “a couple hundred stories for Vitagraph” and as “doing splendidly as a free lance.” [9]
On the topic of her own work, The New York Times wrote, “[Breuil] is proud of the fact that she has never failed to produce the sort of story asked for, and [she] regards her occupation as a sort of warfare waged against her imagination and her originality, in which she has thus far been triumphant.” [5] Though her time in the industry was somewhat short, Breuil was considered one of the more prominent scriptwriters of her time, having been credited for writing, “some of the greatest Vitagraph stories.” [10]
Besides her work as a scenario editor and screenwriter, Breuil was also credited for having helped start the careers of some important figures in the entertainment industry. One such person was Norma Talmadge, an actress who went on to star in a series of films written by Breuil called Belinda, the Slavey; Sleuthing; and A Lady and Her Maid. As the story goes, Talmage had a role in another film written by Breuil, In Neighboring Kingdoms, but the director was unimpressed with Talmage’s performance. Breuil, however, was “impressed by [Talmage’s] beauty” and convinced the co-founder of Vitagraph that the actress should be kept on. [1] Breuil also had a hand in bringing in Laurence Trimble and Jean the Vitagraph Dog to the Vitagraph Company. [1]
John Bunny was an American actor. Bunny began his career as a stage actor, but transitioned to a film career after joining Vitagraph Studios around 1910. At Vitagraph, Bunny made over 150 short films – many of them domestic comedies with the comedian Flora Finch – and became one of the most well-known actors of his era.
Florence Turner was an American actress who became known as the "Vitagraph Girl" in early silent films.
Norma Marie Talmadge was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols of the American screen.
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Flora Finch was an English-born vaudevillian, stage and film actress who starred in over 300 silent films, including over 200 for the Vitagraph Studios film company. The vast majority of her films from the silent era are currently classified as lost.
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Josephine Lovett was an American scenario writer, adapter, screenwriter and actress, active in films from 1916 to 1935. She was married to Canadian-born director, John Stewart Robertson. She is best known for her then-risqué film Our Dancing Daughters in 1928. Her screenplays typically included a heroine who was oftentimes economically and sexually independent.
Lillian Walker, born Lillian Wolke, was an American film actress of the silent era. She appeared in more than 170 films, most of them shorts, between 1909 and 1934.
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Marguerite Bertsch was an American screenwriter and film director who worked in the early days of film. Her 1917 text How to Write for Moving Pictures: A Manual of Instruction and Information reflected and influenced the screenwriters of the era. In the early days of film it was not uncommon for "scenario writers" to be women and she was among those who, beginning in 1916, also directed films. However, she would later be called one of the "forgotten women" of silent film as the non-acting women of early film largely became obscure. Prints of two films that Bertsch had worked on as a screenwriter were rediscovered in the Netherlands, at the Nederlands Filmmuseum. These newly discovered films, The Diver and The Troublesome Step-Daughter, and the 1914 film A Florida Enchantment, are currently the only films from Bertsch's career that have been recovered. The rest are presumed to be lost.
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Beta Breuil at IMDb