I relied on numerous printed sources while researching the film career of Lon Chaney. These include back issues of Moving Picture World, Universal Weekly, Motion Picture News, Variety, Motography, Photoplay, The New York Times, and other trade journals of the time.

Big U by I. G. Edmonds, Filmarama by John Stewart, The American Film Institute Catalog, Features Films 1911-1920, and 1921-1930 are all excellent texts for anyone who enjoys digging deeper into films of the silent area, and were invaluable for cross-checking data. Faces, Forms, Films by Robert Anderson is an incomplete, but sincere effort that provided an excellent starting point for my research.

Numerous individuals provided ideas, information, clues, and research support for this project. Barbara Humphreys and the staff at the Library of Congress were extremely helpful in the collection of reviews, synopses, and copyright information from contemporary sources. David Pierce provided many useful suggestions on sources of information including gross earnings for many pictures and information on copyright status. For generally helpful advice on everything ranging from film preservation to publishing, I am indebted to Leonard Maltin, Scott Simmons, Kevin Brownlow, Richard Koszarski, Tony Slide, David Shepard, and the late William K. Everson.

Stills were provided by Rob McKay, Critt Davis, Mark Viera, Bob Birchard, David Graveen, The Silents Majority, Eric Grayson, Allison Shealy, Tracy Valline, and the wonderful folks at Eddie Brandt's Saturday Matinee.

Many stars graciously took me into their homes and filled me with stories of working with Lon. Particular appreciation goes to Loretta Young, Billie Dove, and Esther Ralston, though I also received many useful stories from Priscilla Bonner, Dorothy Mackaill, Priscilla Dean, Ruth Clifford, Lois Moran, and Jackie Coogan. Sadly, all of these greats are no longer with us.

Viewing of films was a critical part of this research, and to this I am indebted to David Parker and Barbara Humphreys of the Library of Congress, Bob Gitt of UCLA Film Archive, Edith Kramer of Pacific Film Archive, Joe Empsucha and Amy Turim, formerly with the American Film Institute, and private collectors Marty Kearns, Russell Merritt, and the late Sam Rubin and Adam Reilly.

Donna Hill provided the first set of posters and lobby cards that led to the creation of my Poster Gallery, and Robert Semler, Bill Nelson, Andrew McClellan, Chris Parsons and Jack Theakston provided useful information, stills, and posters.

Return to Lon Chaney Home Page