Tell It to the Marines (1927)

Melodrama | 28 January 1927

Director:

George Hill

Writer:

Richard Schayer

Cinematographer:

Ira Morgan

Editor:

Blanche Sewell

Production Company:

Metro-Goldwyn-Mayer Corp.
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HISTORY

The opening credits contained the following written statement: "Metro-Goldyn-Mayer gratefully acknowledges the splendid assistance of THE UNITED STATES MARINE CORP."
       The 5 June 1926 Exhibitors Herald stated that director George Hill was in regular communication with a cameraman in China, who was photographing that country’s insurrection with the cooperation of the Chinese army. Hill intended to use the footage as “research” for staging battle sequences. The 2 June 1926 Variety credited Fred Leahy as production supervisor. Hill also arranged with the U.S. Navy Pacific Fleet to film its “annual battle practice,” as noted in the 12 June 1926 Motion Picture News. That same day, Exhibitors Herald reported that Hill was filming on a battleship and in U.S. Marine Corps barracks. The 23 June 1926 Film Daily added that location shooting was underway at a naval base in San Diego, CA, while the 26 June 1926 Motion Picture News confirmed that interior scenes were made at Metro-Goldwyn-Mayer (M-G-M) Studios in Culver City, CA.
       Also joining the production were actor Daniel G. Tomlinson (23 June 1926 Variety), actress and former M-G-M secretary Patricia Avery (15 January 1927 Hollywood Topics), assistant director M. K. Wilson (19 November 1926 Film Mercury), and Marine General Smedley D. Butler (18 December 1926 Exhibitors Herald). According to the 10 July 1926 Motion Picture News, M-G-M considered filming some sequences in color. The impending close of production was reported in the 25 August 1926 Variety, which also mentioned that an average ...

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The opening credits contained the following written statement: "Metro-Goldyn-Mayer gratefully acknowledges the splendid assistance of THE UNITED STATES MARINE CORP."
       The 5 June 1926 Exhibitors Herald stated that director George Hill was in regular communication with a cameraman in China, who was photographing that country’s insurrection with the cooperation of the Chinese army. Hill intended to use the footage as “research” for staging battle sequences. The 2 June 1926 Variety credited Fred Leahy as production supervisor. Hill also arranged with the U.S. Navy Pacific Fleet to film its “annual battle practice,” as noted in the 12 June 1926 Motion Picture News. That same day, Exhibitors Herald reported that Hill was filming on a battleship and in U.S. Marine Corps barracks. The 23 June 1926 Film Daily added that location shooting was underway at a naval base in San Diego, CA, while the 26 June 1926 Motion Picture News confirmed that interior scenes were made at Metro-Goldwyn-Mayer (M-G-M) Studios in Culver City, CA.
       Also joining the production were actor Daniel G. Tomlinson (23 June 1926 Variety), actress and former M-G-M secretary Patricia Avery (15 January 1927 Hollywood Topics), assistant director M. K. Wilson (19 November 1926 Film Mercury), and Marine General Smedley D. Butler (18 December 1926 Exhibitors Herald). According to the 10 July 1926 Motion Picture News, M-G-M considered filming some sequences in color. The impending close of production was reported in the 25 August 1926 Variety, which also mentioned that an average of 400 men per day were used in the film. An item in the August 1926 Motion Picture mistakenly identified Claire Windsor as its lead actress.
       Tell It to the Marines premiered on 23 December 1926 at the Embassy Theatre in New York City. The 24 December 1926 Film Daily stated that the event was attended by “the commandant of the Marine Corps” along with officers from other military branches. Also featured were “Naval bands, marine buglers and a flag raising ceremony,” twenty sergeants guarding the entrance, a marquee lighted to produce a seascape effect, and the unveiling of the Marines emblem. The 7 January 1927 Motion Picture News reported that tickets for the engagement sold for a maximum price of two dollars. A 28 January 1927 general release was scheduled. The 21 January 1927 issue noted that the film was screened for President Calvin Coolidge at the U.S. Department of the Interior in Washington, DC. Among the approximately 300 attendees were Marine Corps Major-General John A. Lejeune, six members of the president’s cabinet, and numerous senators. The Marine Band performed the film’s musical score.
       An unrelated feature of the same name was released in 1918 by Fox Film Corp.
       According to the Library of Congress American Silent Feature Film Survival Database, this film is extant. It was screened at the Kansas Silent Film Festival in Topeka, KS, on 25 February, 2022.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Chicago Tribune
17 Oct 1927
---
Exhibitors Herald
5 Jun 1926
p. 38
Exhibitors Herald
12 Jun 1926
p. 74
Exhibitors Herald
18 Dec 1926
p. 53
Film Daily
23 Jun 1926
p. 5
Film Daily
7 Dec 1926
p. 2
Film Daily
24 Dec 1926
p. 1
Film Daily
23 Jan 1927
p. 6
Film Mercury
19 Nov 1926
p. 19
Hollywood Topics
15 Jan 1927
p. 16
Los Angeles Times
10 Dec 1926
---
Motion PIcture
Aug 1926
p. 120
Motion PIcture
Jan 1927
p. 59, 98
Motion Picture News
12 Jun 1926
p. 2785
Motion Picture News
26 Jun 1926
p. 2958
Motion Picture News
10 Jul 1926
p. 122
Motion Picture News
27 Nov 1926
p. 2040
Motion Picture News
7 Jan 1927
p. 46
Motion Picture News
21 Jan 1927
p. 219
Moving Picture World
9 Oct 1926
p. 343
Moving Picture World
1 Jan 1927
p. 54
New York Times
24 Dec 1926
p. 18
Variety
2 Jun 1926
p. 6
Variety
23 Jun 1926
p. 20
Variety
25 Aug 1926
p. 8
Variety
24 Nov 1926
p. 20
Variety
29 Dec 1927
---
DETAILS
Release Date:
28 January 1927
Premiere Information:
New York opening: 23 Dec 1926
Production Date:
Jun--Aug 1926
Copyright Info
Claimant
Date
Copyright Number
Metro-Goldwyn-Mayer Distributing Corp.
21 December 1926
LP23475
Physical Properties:
Silent
Black and White
Length(in feet):
8,800
Length(in reels):
9
Country:
United States
Language:
English
SYNOPSIS

“Skeet” Burns travels to San Diego, California, on the pretext of joining the U.S. Marine Corps, then leaves for Tijuana, Mexico, following his arrival. Later, he returns penniless and hungry, and under Sergeant O'Hara's guidance, Skeet joins the Corps. He becomes enamored of Norma Dale, a commissioned Navy nurse, but after he is assigned to the Philippine Islands, Skeet is attracted to a native girl named Zaya, incurring the wrath of her friends. Upon hearing of the affair, Norma ends her romance with Skeet, who blames his misfortune on O'Hara. Norma is ordered to Hangchow, China, and when news arrives that her party is endangered by bandits, the Marines rescue their beleaguered countrymen. Although O'Hara is wounded in the fight, he is happy to know that he has at last made a man of Skeet. Following his discharge from the Marines, Skeet promises Norma that he will wait for ...

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“Skeet” Burns travels to San Diego, California, on the pretext of joining the U.S. Marine Corps, then leaves for Tijuana, Mexico, following his arrival. Later, he returns penniless and hungry, and under Sergeant O'Hara's guidance, Skeet joins the Corps. He becomes enamored of Norma Dale, a commissioned Navy nurse, but after he is assigned to the Philippine Islands, Skeet is attracted to a native girl named Zaya, incurring the wrath of her friends. Upon hearing of the affair, Norma ends her romance with Skeet, who blames his misfortune on O'Hara. Norma is ordered to Hangchow, China, and when news arrives that her party is endangered by bandits, the Marines rescue their beleaguered countrymen. Although O'Hara is wounded in the fight, he is happy to know that he has at last made a man of Skeet. Following his discharge from the Marines, Skeet promises Norma that he will wait for her.

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GENRE
Genre:
Sub-genre:
Military


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.