Her Husband's Trademark (1922)

Melodrama | 19 February 1922

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HISTORY

The film, under the original title The Husband’s Trademark, was in production on the “Lasky lot” in Hollywood, CA, according to the 15 Oct 1921 Moving Picture World. The 5 Nov 1921 Motion Picture News announced that during the previous week, star Gloria Swanson and director Sam Wood staged a party at the “Lasky ranch” before leaving for El Paso, TX, to film “the remainder of the exteriors.” The following week, the 12 Nov 1921 Moving Picture World reported that the film “company” had returned to Hollywood. While in El Paso, Gloria Swanson and co-star Richard Wayne made a public appearance at the city’s Palace Theatre, where her previous film, The Great Moment (1921, see entry), was being held over after its original three-day run. A working cut of the film was apparently being screened for studio executives by mid-Dec 1921, the 24 Dec 1921 Moving Picture World noted, and press releases were being sent out to exhibitors.
       Gloria Swanson granted an interview to popular writer Adela Rogers St. Johns for the 22 Feb 1922 Photoplay, in which she expounded on the ills of modern American marriage by referring to The Husband’s Trademark. “It has come to the place where most men are glad to get a woman who can serve them as a good trademark—glad to get so much from the woman of today. And women reach out to place on their bare shoulders the emblems only of a man’s financial success and eminence.” However, “the husband’s trademark…is hopelessly, horribly unhappy.” ...

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The film, under the original title The Husband’s Trademark, was in production on the “Lasky lot” in Hollywood, CA, according to the 15 Oct 1921 Moving Picture World. The 5 Nov 1921 Motion Picture News announced that during the previous week, star Gloria Swanson and director Sam Wood staged a party at the “Lasky ranch” before leaving for El Paso, TX, to film “the remainder of the exteriors.” The following week, the 12 Nov 1921 Moving Picture World reported that the film “company” had returned to Hollywood. While in El Paso, Gloria Swanson and co-star Richard Wayne made a public appearance at the city’s Palace Theatre, where her previous film, The Great Moment (1921, see entry), was being held over after its original three-day run. A working cut of the film was apparently being screened for studio executives by mid-Dec 1921, the 24 Dec 1921 Moving Picture World noted, and press releases were being sent out to exhibitors.
       Gloria Swanson granted an interview to popular writer Adela Rogers St. Johns for the 22 Feb 1922 Photoplay, in which she expounded on the ills of modern American marriage by referring to The Husband’s Trademark. “It has come to the place where most men are glad to get a woman who can serve them as a good trademark—glad to get so much from the woman of today. And women reach out to place on their bare shoulders the emblems only of a man’s financial success and eminence.” However, “the husband’s trademark…is hopelessly, horribly unhappy.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Exhibitors Herald
4 Mar 1922
p. 61
Exhibitors Trade Review
4 Mar 1922
p. 1007
Film Daily
26 Feb 1922
p. 18
Motion Picture News
5 Nov 1921
p. 2445
Motion Picture News Booking Guide
Oct 1922
p. 32
Motion Picture World
12 Nov 1921
p. 211
Moving Picture World
15 Oct 1921
p. 795
Moving Picture World
24 Dec 1921
p. 949
Photoplay
22 Feb 1922
p. 20-22
The Educational Screen
May 1922
p. 157
DETAILS
Alternate Title:
The Husband's Trademark
Release Date:
19 February 1922
Premiere Information:
New York premiere: ca19 Feb 1922
Production Date:
ended early Nov 1921
Copyright Info
Claimant
Date
Copyright Number
Famous Players-Lasky Corp.
14 February 1922
LP17562
Physical Properties:
Silent
Black and White
Length(in feet):
5,101
Length(in reels):
5
Country:
United States
Language:
English
SYNOPSIS

Socialite New Yorker James Berkeley and college chum Allan Franklin are rivals for the hand of beautiful Lois Miller. Berkeley marries her, and fifteen years later, he keeps his wife luxuriously attired as a “trademark” to further his business opportunities, although he has not realized his ambition to become wealthy. Allan, now an engineer, visits the Berkeleys and reveals that he has obtained a large tract of oil land from the Mexican government. Hoping to profit from Allan’s enterprise, James accompanies him back to Mexico, and brings the reluctant Lois along to keep Allan interested. When Allan and Lois realize their love for each other, she denounces James for using her as a trophy wife. A Mexican bandit, who covets the American woman, leads his gang to capture Lois at a hacienda, and James is slain during the attack. Allan rescues her, and they escape Mexico by leaping on horseback from a precipice into the Rio ...

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Socialite New Yorker James Berkeley and college chum Allan Franklin are rivals for the hand of beautiful Lois Miller. Berkeley marries her, and fifteen years later, he keeps his wife luxuriously attired as a “trademark” to further his business opportunities, although he has not realized his ambition to become wealthy. Allan, now an engineer, visits the Berkeleys and reveals that he has obtained a large tract of oil land from the Mexican government. Hoping to profit from Allan’s enterprise, James accompanies him back to Mexico, and brings the reluctant Lois along to keep Allan interested. When Allan and Lois realize their love for each other, she denounces James for using her as a trophy wife. A Mexican bandit, who covets the American woman, leads his gang to capture Lois at a hacienda, and James is slain during the attack. Allan rescues her, and they escape Mexico by leaping on horseback from a precipice into the Rio Grande.

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GENRE
Genre:
Sub-genre:
Domestic


Subject

Subject (Minor):
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.