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HISTORY

The Jul 1926 AmCin reported that the film's maritime scenes were shot off Catalina Island, CA. For large action scenes requiring two or more cinematographers, Bert Glennon and Harry Perry were called in.
       According to reviews, two of the film's sequences were shown in "Magnascope." The Var review noted that the picture was rumored to have cost $2,400,000 to produce. The LAT review reported that, when it was released, Old Ironsides was the costliest film ever produced by Paramount. ...

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The Jul 1926 AmCin reported that the film's maritime scenes were shot off Catalina Island, CA. For large action scenes requiring two or more cinematographers, Bert Glennon and Harry Perry were called in.
       According to reviews, two of the film's sequences were shown in "Magnascope." The Var review noted that the picture was rumored to have cost $2,400,000 to produce. The LAT review reported that, when it was released, Old Ironsides was the costliest film ever produced by Paramount.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
American Cinematographer
Jul 1926
p. 8
Film Daily
19 Jan 1926
p. 6
Los Angeles Times
12 Dec 1926
p. C27
Motion Picture News
18 Dec 1926
---
Moving Picture World
11 Dec 1926
p. 441
New York Times
7 Dec 1926
p. 21
Photoplay
Feb 1927
p. 52
Variety
8 Dec 1926
p. 16
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
WRITERS
Scen
Suggested & adpt
Suggested & adpt
Titles
PHOTOGRAPHY
Chief cine
Charles Boyle
Addl photog
Asst cam
Asst cam
FILM EDITOR
Film ed
VISUAL EFFECTS
Spec eff
DETAILS
Release Date:
1926
Premiere Information:
New York opening: 6 Dec 1926
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Paramount Famous-Lasky Corp.
3 March 1928
LP25029
Physical Properties:
Silent
Also Sd, released 3 Mar 1928. 8 reels, 7,910 ft.
Black and White
Length(in feet):
10,089
Length(in reels):
12
Country:
United States
Language:
English
SYNOPSIS

Following a fiery patriotic speech by Pinckney in Philadelphia before a gathering of young boys, the scene shifts to Boston and the launching of the frigate Constitution, where the same boys are midshipmen now lined up for inspection by Commodore Preble. At the docks in Salem, the merchant ship Esther, under Bos'n, recruits a country boy in search of adventure. The commodore vies for the hand of Esther, the captain's daughter, but is involved in a fight with a boatswain when the ship is taken by pirates; the crew is sold into slavery and the captain held for ransom. The Philadelphia is captured, and Stephen Decatur proposes to recapture or destroy it. In the melee, Bos'n, Gunner, and Commodore escape and are picked up by the Constitution, where Gunner is lashed for desertion. They all participate in the battle at Tripoli in which "Old Ironsides" is damaged; Esther is reunited with her father and the commodore, and they proceed to ...

More Less

Following a fiery patriotic speech by Pinckney in Philadelphia before a gathering of young boys, the scene shifts to Boston and the launching of the frigate Constitution, where the same boys are midshipmen now lined up for inspection by Commodore Preble. At the docks in Salem, the merchant ship Esther, under Bos'n, recruits a country boy in search of adventure. The commodore vies for the hand of Esther, the captain's daughter, but is involved in a fight with a boatswain when the ship is taken by pirates; the crew is sold into slavery and the captain held for ransom. The Philadelphia is captured, and Stephen Decatur proposes to recapture or destroy it. In the melee, Bos'n, Gunner, and Commodore escape and are picked up by the Constitution, where Gunner is lashed for desertion. They all participate in the battle at Tripoli in which "Old Ironsides" is damaged; Esther is reunited with her father and the commodore, and they proceed to Singapore.

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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.