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HISTORY

On 19 Jan 1923, Var announced that Warner Bros. Pictures had acquired motion picture rights to the John L. Hobble play, Daddies: A Comedy in Four Acts, which had been successfully produced on stage by David Belasco. An Aug 1923—Jan 1924 Motion Picture Magazine item stated that Harry Beaumont had been hired to direct, and would begin production following the completion of The Gold Diggers (1923, see entry). The 18 Aug 1923 Exhibitors Trade Review announced the casting of Mae Marsh, in what was considered her first starring role. The following day, FD reported that Beaumont had been replaced by William A. Seiter.
       A 24 Sep 1923 FD news item indicated that filming was scheduled to begin once casting had been completed. The 13 Oct 1923 Exhibitors Trade Review indicated that actor Monte Blue left the production to pursue a leading role in The Marriage Circle (1924, see entry). Harry Myers, who was originally signed to play “Henry Allen,” was promoted as Blue’s replacement, and Willard Louis assumed Myers’s former role.
       Daddies opened at the Strand Theatre in New York City, and the Rialto Theatre in Los Angeles, CA. While the 21 Feb 1924 Var reported that the film “failed to click” with New York City audiences, the 4 Jun 1924 issue reported that the Rialto earned “fair” business, with a weekly gross of $3,800. ...

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On 19 Jan 1923, Var announced that Warner Bros. Pictures had acquired motion picture rights to the John L. Hobble play, Daddies: A Comedy in Four Acts, which had been successfully produced on stage by David Belasco. An Aug 1923—Jan 1924 Motion Picture Magazine item stated that Harry Beaumont had been hired to direct, and would begin production following the completion of The Gold Diggers (1923, see entry). The 18 Aug 1923 Exhibitors Trade Review announced the casting of Mae Marsh, in what was considered her first starring role. The following day, FD reported that Beaumont had been replaced by William A. Seiter.
       A 24 Sep 1923 FD news item indicated that filming was scheduled to begin once casting had been completed. The 13 Oct 1923 Exhibitors Trade Review indicated that actor Monte Blue left the production to pursue a leading role in The Marriage Circle (1924, see entry). Harry Myers, who was originally signed to play “Henry Allen,” was promoted as Blue’s replacement, and Willard Louis assumed Myers’s former role.
       Daddies opened at the Strand Theatre in New York City, and the Rialto Theatre in Los Angeles, CA. While the 21 Feb 1924 Var reported that the film “failed to click” with New York City audiences, the 4 Jun 1924 issue reported that the Rialto earned “fair” business, with a weekly gross of $3,800.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Exhibitors Trade Review
18 Aug 1923
p. 501
Exhibitors Trade Review
13 Oct 1923
---
Film Daily
19 Aug 1923
p. 2
Film Daily
24 Sep 1923
p. 4
Film Daily
17 Feb 1924
---
Motion Picture Magazine
Aug 1923-Jan 1924
---
New York Times
11 Feb 1924
p. 18
Variety
19 Jan 1923
p. 38
Variety
14 Feb 1924
p. 26
Variety
21 Feb 1924
p. 16
Variety
4 Jun 1924
p. 27
DETAILS
Release Date:
9 February 1924
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Warner Brothers Pictures
6 February 1924
LP19900
Physical Properties:
Silent
Black and White
Length(in feet):
6,500, 6,800
Length(in reels):
7
Country:
United States
Language:
English
SYNOPSIS

Five confirmed bachelors, comprising a club of woman-haters, adopt war orphans. Bob Audrey's orphan turns out to be 18-year-old Ruth Atkins. They fall in love and marry. The other bachelors also obtain wives to be mothers to their ...

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Five confirmed bachelors, comprising a club of woman-haters, adopt war orphans. Bob Audrey's orphan turns out to be 18-year-old Ruth Atkins. They fall in love and marry. The other bachelors also obtain wives to be mothers to their children.

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GENRE
Genre:


Subject

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.