In Hollywood with Potash and Perlmutter (1924)
Comedy | September 1924
Director:
Alfred GreenWriter:
Frances MarionProducer:
Samuel GoldwynCinematographers:
Harry Hallenberger, Arthur MillerEditor:
Stuart HeislerProduction Designer:
Ben CarréProduction Company:
Goldwyn Pictures Corp.This film was initially titled Potash and Perlmutter in Hollywood. Referring to it by that name, the 2 January 1924 Film Daily announced producer Samuel Goldwyn’s plans to make another picture with comedy duo Alexander Carr and Barney Bernard in the roles of “Morris Perlmutter” and “Abe Potash,” respectively. The duo had originated these roles onstage and reprised them onscreen in the 1923 Goldwyn Pictures Corp. production, Potash and Perlmutter (see entry). However, shortly after the announcement in Film Daily, an item in the 12 March 1924 issue mentioned recent news that Carr and Bernard were splitting over “differences in temperament.” Bernard’s untimely death on 21 March 1924 was reported in the 24 March 1924 Film Daily, and his replacement by George Sidney was confirmed in the 1 June 1924 issue.
Filming was underway by July 1924 at United Studios in Hollywood, CA, according to the 5 July 1924 Exhibitors Herald. Just over a month later, the 16 August 1924 Moving Picture World stated that principal photography had ended. Theatrical release followed in September 1924. Critical reception was positive, and an article in the 11 October 1924 Moving Picture World claimed that In Hollywood with Potash and Perlmutter was a “big hit” in Los Angeles, CA, where it opened the week of 21 September 1924, and in New York City, where it opened on 28 September 1924.
Louis Payne was listed as a cast member in the 19 July 1924 Moving Picture World.
The National Film Preservation Board (NFPB) included this picture on its list of Lost ...
This film was initially titled Potash and Perlmutter in Hollywood. Referring to it by that name, the 2 January 1924 Film Daily announced producer Samuel Goldwyn’s plans to make another picture with comedy duo Alexander Carr and Barney Bernard in the roles of “Morris Perlmutter” and “Abe Potash,” respectively. The duo had originated these roles onstage and reprised them onscreen in the 1923 Goldwyn Pictures Corp. production, Potash and Perlmutter (see entry). However, shortly after the announcement in Film Daily, an item in the 12 March 1924 issue mentioned recent news that Carr and Bernard were splitting over “differences in temperament.” Bernard’s untimely death on 21 March 1924 was reported in the 24 March 1924 Film Daily, and his replacement by George Sidney was confirmed in the 1 June 1924 issue.
Filming was underway by July 1924 at United Studios in Hollywood, CA, according to the 5 July 1924 Exhibitors Herald. Just over a month later, the 16 August 1924 Moving Picture World stated that principal photography had ended. Theatrical release followed in September 1924. Critical reception was positive, and an article in the 11 October 1924 Moving Picture World claimed that In Hollywood with Potash and Perlmutter was a “big hit” in Los Angeles, CA, where it opened the week of 21 September 1924, and in New York City, where it opened on 28 September 1924.
Louis Payne was listed as a cast member in the 19 July 1924 Moving Picture World.
The National Film Preservation Board (NFPB) included this picture on its list of Lost U.S. Silent Feature Films as of February 2021.
Potash and Perlmutter give up their textile business to produce motion pictures. Though their initial effort is a failure, they interest a banker, Blanchard, in financing their productions, provided that they engage Rita Sismondi, an actress famous for vamp roles. She all but breaks up the homes of the partners. When they finally settle their differences, their new picture is a success and the vamp begins a romance with the ...
Potash and Perlmutter give up their textile business to produce motion pictures. Though their initial effort is a failure, they interest a banker, Blanchard, in financing their productions, provided that they engage Rita Sismondi, an actress famous for vamp roles. She all but breaks up the homes of the partners. When they finally settle their differences, their new picture is a success and the vamp begins a romance with the director.
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