The Faker (1929)

Melodrama | 2 January 1929

Director:

Phil Rosen

Writer:

Howard J. Green

Producer:

Harry Cohn

Cinematographer:

Ted Tetzlaff

Production Designer:

Harrison Wiley

Production Company:

Columbia Pictures Corp.
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HISTORY

The upcoming picture was listed in the 9 June 1928 Exhibitors Herald and Moving Picture World among thirty-six scheduled Columbia Pictures Corp. releases for the 1928-1929 season. A chart in the 1 December 1928 issue stated that principal photography began on 13 November 1928.
       According to the 24 November 1928 Exhibitors Daily Review, lead actress Jacqueline Logan had recently resumed work on the picture following a bout of influenza. Two days later, the 26 November 1928 edition noted that production took place at Universal Studios in Universal City, CA. A columnist, known as “Patsy, the Hollywood Stenog,” revealed in the 30 December 1928 [Zanesville, OH] Times-Signal that Logan appeared in a triple role as women of three generations. Photographs in the April 1929 Photoplay depicted Logan as her young and elderly characters. The impending close of production was announced in the 28 December 1928 Exhibitors Daily Review, although the completion of Logan’s role had already been reported in the 15 December 1928 Exhibitors Herald and Moving Picture World.
       The Faker was released on 2 January 1929, followed by openings on 25 January 1929 at the Patee Theatre in Lawrence, KS, and on 26 January 1929 at the Hancock Theatre in Austin, TX. On 16 February 1929, Harrison’s Reports noted that the picture was originally to be based on a story by Rupert Hughes. Because Howard J. Green was the only credited writer, the feature was considered a substitution.
       According to the Library of Congress American Silent Feature Film Survival Database, this film is ...

More Less

The upcoming picture was listed in the 9 June 1928 Exhibitors Herald and Moving Picture World among thirty-six scheduled Columbia Pictures Corp. releases for the 1928-1929 season. A chart in the 1 December 1928 issue stated that principal photography began on 13 November 1928.
       According to the 24 November 1928 Exhibitors Daily Review, lead actress Jacqueline Logan had recently resumed work on the picture following a bout of influenza. Two days later, the 26 November 1928 edition noted that production took place at Universal Studios in Universal City, CA. A columnist, known as “Patsy, the Hollywood Stenog,” revealed in the 30 December 1928 [Zanesville, OH] Times-Signal that Logan appeared in a triple role as women of three generations. Photographs in the April 1929 Photoplay depicted Logan as her young and elderly characters. The impending close of production was announced in the 28 December 1928 Exhibitors Daily Review, although the completion of Logan’s role had already been reported in the 15 December 1928 Exhibitors Herald and Moving Picture World.
       The Faker was released on 2 January 1929, followed by openings on 25 January 1929 at the Patee Theatre in Lawrence, KS, and on 26 January 1929 at the Hancock Theatre in Austin, TX. On 16 February 1929, Harrison’s Reports noted that the picture was originally to be based on a story by Rupert Hughes. Because Howard J. Green was the only credited writer, the feature was considered a substitution.
       According to the Library of Congress American Silent Feature Film Survival Database, this film is extant.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Texan [Austin, TX]
26 Jan 1929
---
Exhibitors Daily Review
24 Nov 1928
p. 4
Exhibitors Daily Review
26 Nov 1928
p. 7
Exhibitors Daily Review
28 Dec 1928
p. 3
Exhibitors Herald and Moving Picture World
9 Jun 1928
p. 43
Exhibitors Herald and Moving Picture World
1 Dec 1928
p. 43
Exhibitors Herald and Moving Picture World
8 Dec 1928
p. 50
Exhibitors Herald and Moving Picture World
15 Dec 1928
p. 42
Film Daily
10 Mar 1929
p. 8
Harrison's Reports
16 Feb 1929
p. 28, 29
Harrison's Reports
9 Mar 1929
p. 38
Lawrence Journal-World [Lawrence, KS]
24 Jan 1929
p. 3
Motion Picture News
24 Nov 1928
p. 1594
Photoplay
Apr 1929
p. 114, 138
Times-Signal [Zanesville, OH]
30 Dec 1928
Section Two, p. 9
DETAILS
Release Date:
2 January 1929
Premiere Information:
Lawrence, KS, opening: 25 Jan 1929; Austin, TX, opening: 26 Jan 1929
Production Date:
13 November--early December 1928
Copyright Info
Claimant
Date
Copyright Number
Columbia Pictures Corp.
22 March 1929
LP238
Physical Properties:
Silent
Black and White
Length(in feet):
5,538
Length(in reels):
6
Country:
United States
Language:
English
SYNOPSIS

Hadrian, a phony spiritualist, and his assistant, Rita Martin, are chased from town to town by police. At the invitation of young wastrel Frank Clayton, Rita becomes the private secretary of his wealthy father, John. However, the elder Clayton has disinherited Frank, and left his entire fortune to his upright stepson, Bob Williams. At Frank's request, Hadrian invites John to a seance during which Rita impersonates the late Mrs. Clayton and demands that Frank inherit his father’s estate. Rita soon falls in love with Bob, and when he attends a subsequent séance, she exposes Hadrian as a fraud. Frank is disgraced in his father's eyes, and Bob quickly forgives Rita for her sordid ...

More Less

Hadrian, a phony spiritualist, and his assistant, Rita Martin, are chased from town to town by police. At the invitation of young wastrel Frank Clayton, Rita becomes the private secretary of his wealthy father, John. However, the elder Clayton has disinherited Frank, and left his entire fortune to his upright stepson, Bob Williams. At Frank's request, Hadrian invites John to a seance during which Rita impersonates the late Mrs. Clayton and demands that Frank inherit his father’s estate. Rita soon falls in love with Bob, and when he attends a subsequent séance, she exposes Hadrian as a fraud. Frank is disgraced in his father's eyes, and Bob quickly forgives Rita for her sordid past.

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GENRE
Genre:


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.