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HISTORY

The 10 Jan 1922 FD announced that Famous Players-Lasky Corp. had purchased screen rights to the Rachel Crother’s 1921 play Nice People, to be directed by William C. de Mille.
       According to the 15 Feb 1922 FD, de Mille arrived in New York City the day before for three weeks to prepare for the picture. During that time, he consulted on the script with scenarist Clara Beranger, as stated in the 1 Apr 1922 Moving Picture World.
       On 25 Mar 1922, Moving Picture World announced de Mille’s return to CA, where he would begin work immediately at the Lasky Studios in Hollywood. An elaborate “ultra-modern” Japanese café was recreated on the stages, with “real Geisha girls” and native Japanese youths cast as background actors to give the scene authenticity, according to the 6 May 1922 Moving Picture World.
       The 11 May 1922 FD announced that principal photography had been completed, and that de Mille was currently cutting and assembling the picture.
       Film reviews reprinted in the 15 Aug 1922 FD were mostly positive, with one deeming the picture “a clever ... More Less

The 10 Jan 1922 FD announced that Famous Players-Lasky Corp. had purchased screen rights to the Rachel Crother’s 1921 play Nice People, to be directed by William C. de Mille.
       According to the 15 Feb 1922 FD, de Mille arrived in New York City the day before for three weeks to prepare for the picture. During that time, he consulted on the script with scenarist Clara Beranger, as stated in the 1 Apr 1922 Moving Picture World.
       On 25 Mar 1922, Moving Picture World announced de Mille’s return to CA, where he would begin work immediately at the Lasky Studios in Hollywood. An elaborate “ultra-modern” Japanese café was recreated on the stages, with “real Geisha girls” and native Japanese youths cast as background actors to give the scene authenticity, according to the 6 May 1922 Moving Picture World.
       The 11 May 1922 FD announced that principal photography had been completed, and that de Mille was currently cutting and assembling the picture.
       Film reviews reprinted in the 15 Aug 1922 FD were mostly positive, with one deeming the picture “a clever satire.” More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Film Daily
10 Jan 1922
p. 1.
Film Daily
15 Feb 1922
p,. 2.
Film Daily
11 May 1922
p. 10.
Film Daily
15 Aug 1922
p. 4.
Film Daily
20 Aug 1922
p. 11.
Moving Picture World
25 Mar 1922.
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Moving Picture World
1 Apr 1922.
---
Moving Picture World
6 May 1922.
---
DETAILS
Release Date:
4 September 1922
Premiere Information:
Los Angeles opening: ca2 July 1922
Copyright Claimant:
Famous Players-Lasky Corp.
Copyright Date:
25 July 1922
Copyright Number:
LP18094
Physical Properties:
Silent
Black and White
Length(in feet):
6,244
Length(in reels):
7
Country:
United States
Language:
English
Passed by NBR:
No
SYNOPSIS

Teddy Gloucester, one of the group of jazz age "nice people," is caught in a farmhouse during a storm with her intoxicated companion, Scotty. A stranger (Billy Wade) also seeking shelter saves her from Scotty's unwelcome attentions but not from the scandal which results from her father's discovery of her and Scotty--alone--the next morning. Hurt by the snubbing she receives from her friends, Teddy settles down and agrees to become an old-fashioned wife to ... +


Teddy Gloucester, one of the group of jazz age "nice people," is caught in a farmhouse during a storm with her intoxicated companion, Scotty. A stranger (Billy Wade) also seeking shelter saves her from Scotty's unwelcome attentions but not from the scandal which results from her father's discovery of her and Scotty--alone--the next morning. Hurt by the snubbing she receives from her friends, Teddy settles down and agrees to become an old-fashioned wife to Billy. +

GENRE
Genre:
Sub-genre:
Society


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.