The Spirit of the USA

The Spirit of the USA is a 1924 American silent melodrama directed by Emory Johnson. FBO released the film in May 1924. The film's "All-Star" cast included Johnnie Walker and Mary Carr. Emilie Johnson, Johnson's mother, wrote both the story and screenplay. The Spirit of the USA was the fifth film in Johnson's eight-picture contract with FBO.[1][2]

The Gains family lives on a farm with their two sons, Johnnie and Silas. When the US enters World War I, Johnnie tries to enlist but is rejected and joins the Salvation Army instead. Meanwhile, Silas marries Zelda Burrows, the daughter of a wealthy neighbor who covets the Gains' farm. Silas later enlists in the Army and is killed in action.

Zelda and her father take advantage of the family's grief and falsely claim that Johnnie has also died in battle, evicting the Gains family and starting to build a dam on their property. However, Johnnie returns home, having survived the war, and fights to reclaim his family's farm. He throws Zelda off the property, blows up the dam, and marries his sweetheart Gretchen. The story ends with the family reunited and living happily ever after.

The film begins by showcasing the idyllic scenery surrounding the Gaines farm.[a] Thomas Gains, the family patriarch, and his wife Mary live on the farmstead with their two sons, Silas and Johnnie. We see Grandpa Gains mending a toy for his grandson, Johnnie. Old man Gains and Silas walk into the house just as Johnnie begs his grandpa to tell Civil War stories. Johnnie tells his grandpa he will be a soldier, too. Tom pounds the table, declaring that none of his sons will become soldiers.

Eighteen years pass and we meet Robert Washburn, a wealthy landowner who owns vast tracks of land adjacent to the Gaines farm. Washburn's Business consultant, Jim Fuller, advises him that if he were to construct a dam across Coldwater Creek, his property would double in value. Washburn says he tried to buy the Gains farm in the past, but the Gains will not sell. While they continue to talk, Zelda Washburn walks into the room. The elder Washburn agrees to contact the Gains family again. It soon becomes apparent that Fuller and Zelda share mutual feelings for each other.

Washburn and his daughter pay a visit to the Gains farm. While the two men talk, Zelda flirts with Silas. Summoning his courage, Silas invites Zelda to the barn dance, and she accepts. Once again, Thomas Gains turns down Washburn's offer, so Zelda and her father make their way home.

Silas realizes he needs to buy a new suit for the dance. Silas's father is in the barn loading sacks of wheat when Johnnie shows up and starts helping. Johnnie asks his father if he could sell two sacks of grain to buy new suits for him and his brother. The old man says emphatically no, but Johnnie continues to ask. The old man gets upset, throwing his keys on the ground in disgust, and leaves.

Silas overhears the conversation and swiftly rushes over to grab his father's keys. As he is hitching their horse to the wagon, his father reappears. The old man asks Silas where he is going, and Silas tells him he is calling on Zelda. Later, under cover of darkness, Silas returns to the barn and unlocks the door with his father's keys. He loads a sack of grain into the wagon. Johnnie sees him as he is packing a second sack on the wagon. Johnnie confronts him, but Silas says, "It belongs to me as much as anybody. I've worked for it!"

Meanwhile, the old man tries to open a locked drawer but cannot find his keys. Then he remembers tossing them on the ground and makes his way towards the barn. Johnnie is still trying to talk his brother out of stealing the grain. He offers Silas money, but Silas brushes him aside and leaves in the wagon. Suddenly old man Gaines walks in and sees Johnnie holding a wad of cash. He asks Johnnie where he got that money and notices two sacks of grain are missing. He asks Johnnie," What have you become a damn thief?" The old man becomes emotional and strikes Johnnie in his left eye.

The barn dance is scheduled for Saturday, April 6, 1917. After arriving in a brand-new suit at the Washburn's house, Silas escorts Zelda to the dance. Halfway through the festivities, a man arrives on horseback and dashes to the center of the hall. With an urgent tone, he announces "War has been declared."

The following day, Johnnie heeds the call to arms and says he will fight overseas. He grabs his grandpa's old musket and tells his father he is going to enlist. His father is visibly upset. Undeterred, he bids farewell to his mother, but his father refuses to shake his hand. Johnnie heads to the train depot with his musket and dog.

After boarding the train, Johnnie arrives at the induction center and attempts to enlist in the Army. He is given a physical but fails the eye exam. He is classified as "Class V."[b] While sitting outside the induction center, a Salvation Army volunteer approaches Johnnie. The volunteer calls attention to a contingent of Salvation Army workers getting ready to ship overseas. Johnnie is impressed, then joins the Salvation Army and is shipped overseas.

Now that Johnnie is gone, Thomas Gains makes an important decision. He names Silas as the sole owner of the Gains farm. Then at Robert Washburn's urging, Silas quickly marries Zelda hoping to avoid the draft.[b] The couple settles into their new home - the Gaines farmhouse. Zelda immediately becomes dissatisfied with her archaic surroundings. As each day passes, Zelda becomes more disenchanted. She especially hates the noisy birds that Johnnie gave to his mother. Zelda finally grabs the birdcage and throws it out the door. The birds escape, and his mother has nothing to remind her of Johnnie. Zelda gets more upset and tells Silas she hates him because he is a coward.

The next day, Silas receives a draft letter from the Local Draft board. He must register for the draft on May 17 at 10 am. " Silas feels inspired and says, "We'll see who the coward is."

The scene switches to the fields in France. We see Johnnie cooking donuts for the troops, and then we see Silas on the front lines. While Silas is firing from a trench, he receives a fatal shot to the heart. As Silas lies on the ground, mortally wounded, Johnnie chances upon him just as he rolls over and dies. Johnnie puts on his brother's uniform, grabs his rifle, goes over the top, and becomes a hero. Back at the Gaines farm, Thomas and Mary receive a letter from Johnnie. The letter reads.

While enjoying the company of her lover, Jim Fuller, Zelda's attention is drawn to the letter. Then Fuller confidently states that Johnnie had met the same fate as Silas. Zelda declares, "This letter makes me the rightful owner of this place." She promptly throws Thomas and Mary out on the street.

As Armistice Day arrives, a train steams into the depot hauling Johnnie and his dog. Both parents warmly greet him. Johnnie goes to the old house, where Zelda and Fuller are mapping out their next scheme. He thrashes Fuller and tosses them both on the street. Johnnie's father tells him the Washburns have built a dam to reroute his water supply. Johnnie races out of the house and demolishes the dam. After the explosion, water floods down the canyon, sweeping away Fuller and Zelda. Johnnie returns home and sees Gretchen, who has patiently awaited Johnnie's return. They embrace, the whole family hugs, and they all live happily ever after.

Film Booking Offices of America (FBO) operated as a dynamic and autonomous film studio during the silent era of American cinema. With an output of approximately 110 features and shorts annually, FBO dedicated itself to creating low-budget films that excelled in various genres, including top-notch westerns, action-packed thrillers, heartwarming romantic melodramas, and comedy shorts. The company primarily distributed its productions to modest-sized towns and independent theater chains that frequently refreshed their film selection three times per week.[5] FBO would make their pictures appeal to every member of the American family.[6]

In 1924, the average cost per FBO production ranged from $50,000 to $75,000, which is equivalent to $874,155 to $1,311,233 in 2022 currency. In comparison, the Major film studios had significantly larger budgets, spending up to five times more to produce a single movie. Alongside their regular productions, FBO also undertook a few high-budget projects known as "Gold Bond" or "Special" productions. During his tenure at FBO, Emory Johnson exclusively worked on eight films that fell under this category.[7]

In 1923, Emilie and Emory Johnson entered into a contract extension with FBO, which spanned two and one-half years. The terms of the agreement stated that Emory was obligated to create eight attractions for FBO. The agreement acknowledged that his previous four films would be included in this tally. To support the production of the remaining four films, FBO committed to investing two and a half million dollars, which, in today's currency, is equivalent to $40,472,167 in 2021.[8]

Additionally, an integral part of the new contract stated that Emory Johnson's mother, Mrs. Emilie Johnson, would be responsible for developing all the stories and writing the scripts for the Johnson attractions. Furthermore, she would assist her son during the filming process.[8]

This film was directed by Emory Johnson, a former actor who transitioned to directing. His acting journey began in 1912, starting as an extra in early Broncho Billy Westerns. From 1913 to 1922, Johnson appeared in 73 movies for studios like Essanay, Universal, Pathé, and Goldwyn, before FBO allowed him to direct his first film. In 1921, he felt that the time was ripe for him to take the reins of filmmaking.

At 30, Johnson directed this film as part of his eight-picture contract with FBO and marked his fifth collaboration with the studio. Before this, his four FBO films—In the Name of the Law, The Third Alarm, The West~Bound Limited and The Mailman—had achieved financial success.

During his tenure at FBO, Johnson earned several titles, such as the Master of Melodrama, King of Exploitation, and Hero of the Working Class. His films encompassed various genres, including melodramas, [f] and he continued to flourish as an independent director. Johnson's success stemmed from his ability to create epic films and commercially viable movies that resonated with subjects close to his heart and his mother's.

During his career, Emory Johnson directed thirteen films - eleven silents and two Talkies.

Love, the greatest of human emotions, is once again the central theme[g] of this Emory Johnson's Melodrama. In his previous four productions, Johnson's emphasized the deep connection between a father and son, showcasing a prominent father figure, a nurturing mother figure, a devoted son, a captivating female lead, and a few child actors. Within the tapestry of these specials, Johnson masterfully intertwines courage, dedication, a sense of responsibility, the importance of family, high moral principles, loyalty, and selfless acts of sacrifice. This approach to creating films, resonated well with audiences, resulting in significant success at the box office. These films were also fitting of the new era, where movie fans sought more family-oriented cinema, action films, and films with intelligent plots.

In a departure from his previous narratives, this storyline emphasizes the profound bond between a mother and her son. By incorporating the theme of motherhood, it provided a contrasting element to balance the intense war scenes depicted in the movie. The film also portrayed one of the most devastating tragedies a mother can face — the shattering loss of a son.[38][39]

Emilie Johnson was 56 years old when she wrote the story and the screen adaptation for this film. The Spirit of The U.S.A. was the fifth film in the 8-picture FBO contract.[41] The idealism of former President Woodrow Wilson (Wilson died on February 3, 1924) served as an inspiration for Emilie Johnson.[h]

Emilie Johnson (1867–1941) was born on June 3, 1867, in Gothenburg, Västra Götaland, Sweden. After emigrating to America, she married Alfred Jönsson. Their only son was born in 1894 – actor, director and writer Alfred Emory Johnson.[43]

In the 1920s, Emilie and Emory Johnson developed one of the unique collaborations in the annals of Hollywood. The decade saw the mother-son team develop into the most financially successful directing and writing team in motion picture history. She wrote most of the stories and screenplays her son used for his career in directing melodramas. Emilie Johnson wrote stories about lunch pail characters living paycheck-to-paycheck like law enforcement officers, firefighters, mail carriers, railroad engineers, patriots, baseball players, and newspaper press operators.[i]

Emilie's conviction in the cinematic potential of her human-interest stories was matched by her son's ability to bring them to life on the silver screen in grand, sweeping melodramas. The Johnsons collaborated closely, working alongside each other during the pre-production phase and continuing their partnership on set once filming commenced. This extraordinary creative alliance flourished throughout the entire decade, albeit gradually fading in the early 1930s.

Interiors for this movie were filmed at the FBO studios located at 780 Gower Street in Hollywood.[45][46]

An article in the February 9, 1924, issue of article in Camera! stated, "one evening's work was done at the lobby at the Manx Hotel" in San Francisco.[47]

According to the American Film Institute catalog, the exteriors for this picture were shot in:

This timetable is a detailed outline of the shooting schedule, editing process, and eventual release of this picture. The schedule was constructed by incorporating dates sourced from Camera! "Pulse of the Studios" and other trade journals. This film start shooting in December 1923 and was "In the Can" April 1924.

The timetable shows the first week of shooting under the auspices of R—C Studios located on Melrose and 780 Gower. Starting with the 6th week of shooting, the studio changes to F.B.O.Studios at the same location.

The processing stage displayed in Camera! used the following entries for this film:

During the production phase, films need a reference name to identify the project, often called a Alternate or Working title. Often, the working title becomes the official release title of the film. There are two main reasons for employing working titles:

This particular picture underwent multiple name changes.

During the era of silent movies, the presence of musical accompaniment varied from theater to theater. Unlike modern films with consistent scores, silent movies did not have accompanying music that traveled with the film. The provision of musical accompaniment depended on the individual theater. Some larger theaters boasted full orchestras, while smaller venues relied on pianos or organs to provide a musical backdrop. As previously mentioned, the central theme of the film revolved around the profound love shared between a mother and her son. In one of its various title iterations, the movie was named, Honor Your Mother. It follows, one of the popular choices for the musical background would be a mother song.

In the book – Music of the First World War, the author points out "Everyone loves and cherishes their mom. And there were many "Mother" songs during the early years of the 20th century ..."That Wonderful Mother of Mine" and "Little Mother of Mine" were published in 1918." [68]

The song That Wonderful Mother of Mine was copyrighted in 1918 with music by Walter Goodwin and lyrics by Clyde Hager. Walter Goodwin later published his music with the title, "Theme Song and Melody for Emory Johnson's Mighty Motion Picture "The Spirit of the U.S.A." with Mary Carr and Johnnie Walker."[69] A theater Maestro in a large theater in California selected the hauntingly beautiful Songs My Mother Taught Me by Antonín Dvořák along with other scores.[70]

All wars seem to produce their sets of favorite songs and World War One was no different. We also see songs published at the conclusion of World War One with the title of The spirit of the U.S.A. including:

In 1922, the Robertson-Cole Distributing Corporation reorganized and rebranded itself as FBO. As part of this change, FBO secured land at the intersection of Melrose Avenue and Gower Street in Los Angeles. After purchasing this lot, FBO constructed administration offices to support day-to-day operations. They also built film stages to facilitate shooting interior scenes for motion pictures.[45]

Then, FBO purchased 460 acres of land in Santa Monica, which became known as the "R-C Ranch." The outdoor locale was a picturesque setting for various exterior filming requirements.[45]

New York City had a tradition of hosting the Premieres of Emory Johnson's films. In July 1922, Johnson premiered his first motion picture, In The Name of the Law, at the George M. Cohan Theater.[74] FBO premiered Johnson's second production, The Third Alarm, in January 1923 at the prestigious Astor Theatre.[75] In April 1923, FBO premiered Johnson's third film, The West~Bound Limited, by booking a ballroom at the Astor Hotel.[76] The premiere of The Mailman was shared between Washington and Philadelphia. FBO reverted to its standard practice of premiering new films in New York with this film. The opportunity to engage with the discerning audience of New York City on Broadway had the potential to generate unparalleled publicity for a movie.

When the FBO showcased In the Name of the Law, they established a connection between the screening venue and the local police departments. This approach was replicated when they linked firefighters to The Third Alarm, railroad workers to The West~Bound Limited, and postal workers to The Mailman. Although it was not marketed as a war film, FBO strategically cultivated a relationship with the armed forces for this movie, positioning it as a recruitment tool to attract volunteers and encourage enlistment in the National Guard.

The World Premiere of this film occurred at the Lyric Theatre in New York City on Sunday, May 18, 1924. The movie was scheduled for a two-week engagement, concluding on May 31.[77]

To commemorate the film's premiere, FBO orchestrated a grand Parade down Broadway featuring two Artillery Regiments. The parade ended in front of the Lyric Theater with an Exhibition drill in Times Square that stopped traffic in the heart of the Broadway Theater District. On Tuesday, May 20, several units staged a demonstration at City Hall Square, providing an opportunity for the Mayor to inspect the troops. The guns and carriages prominently displayed advertising banners while uniformed individuals distributed handouts to the enthusiastic crowds. During the two-week run of the film, special regimental nights were scheduled, where different regiments would march down to the theater and perform brief drill demonstrations.[77][78]

In the past, FBO successfully implemented an advertising strategy by forging local partnerships with the organization supporting the specific working-class hero depicted in the film. They actively encouraged these local organizations to coordinate stunts, appreciation parades, and various activities, effectively securing complimentary advertising for the film. When available, an F.B.O. agent would collaborate closely with the theater owner to develop an exploitation strategy for the movie. This film posed a minor challenge for FBO. Although it was not marketed as a war film, FBO strategically cultivated a relationship with the armed forces for this movie, positioning it as a recruitment tool to attract volunteers and encourage enlistment in the National Guard. It seemed all advertising for this movie had a military component.

One of the primary objectives of premiering this film in New York was to establish the advertising standards for its nationwide promotion. These standards would serve as a foundation upon which all advertising strategies would be built. The New York premiere employed a Military parade marching down Broadway.[80] FBO knew nothing grabbed the public attention like a good parade, especially soldiers marching in a military parade in dress uniform. These parades would always end at the local theater showing the film. FBO's publicity department also staged drill formations in City Hall Square, decorated guns and carriages having them prominently displayed advertising banners, special regimental parades marching to the theater, and local merchants jumped on the promotional bandwagon. Anything was fair game if it drew potential ticket purchasers to the theater.[81]

In the event that a movie theater owner requires assistance in promoting this particular film, FBO offered a comprehensive Campaign Book. This invaluable resource, prepared by the film booking office, encompasses every aspect of advertising, publicity, and strategic promotion. The press book meticulously guides theater owners in effectively showcasing the film and maximizing its reach to audiences. The press book for this film presented a wealth of valuable resources and opportunities for promotion.

At the movie premiere in New York, FBO put together a notable stunt by enlisting 29-year-old baseball sensation Babe Ruth to join the Militia.[84] Eager to outshine their New York counterparts, the second city arranged a similar spectacle in downtown Chicago. The film was slated to debut at the Castle Theatre on South State Street at West Madison. On the opening day, the Cubs baseball team, mounted on horseback, paraded down State Street escorted by eight horse-drawn 75 mm guns and a Regiment of soldiers. The procession concluded at the Castle Theatre. The vast crowd witnessed the entire Cubs team joining the 122nd field artillery, taking an oath of allegiance right in front of the theatre.[85][86]

Movie reviews played a vital role for both theater owners and fans, offering crucial perspectives. The opinions shared in reviews, which were published in different trade magazines, were indispensable in the process of deciding whether to book a movie for screening or to watch it as a viewer. When critics expressed conflicting viewpoints about a film, making a choice became more challenging. It is important to note, however, that divergent reviews did not always imply that the movie was inherently bad. In the end, the choice relied on personal preferences and the weight one gave to the movie review and its author.

Melodrama films captivate the audience by weaving narratives that evoke intense emotions. These films primarily focus on family dynamics, centering around characters who face adversity and exploring themes of duty and love. The melodramatic format portrays characters navigating their challenges with unwavering determination, selfless acts, and bravery. Movie critics and theater owners often use the following expressions to describe the movies they are reviewing or showing.

FBO was a film production and distribution company that had a strong focus on catering to small-town venues. They served this market melodramas, Western action pictures, and comedic shorts.[89] Unlike major Hollywood studios, FBO owned no movie theaters and depended on movie house proprietors renting their films. Similar to other independent studios, FBO's financial success was intricately tied to the willingness of these movie house owners to rent their films, as it was through these rentals that FBO could generate profits.

Prior to leasing a film, picture house owners had a significant concern: ensuring that the film had the potential to be a profitable venture in their specific location. To aid them in making informed financial decisions, these proprietors would subscribe to trade journals. These publications provided valuable assistance by featuring critical reviews, attendance, revenue, and opinions from other managers. By reading these assessments, picture house owners could determine the viability of a film deciding whether it was likely to attract audiences and generate the desired financial returns in their locale.

The film received a positive reception from the audience, especially in the small towns that constituted FBO's primary target audience. While the response from larger venues was not as enthusiastic, they were neither disappointed nor displeased with the attendance. These are the brief published observations from movie house owners.

Many silent-era films did not survive for reasons as explained on this Wikipedia page.[j] The posting on the Library of Congress Performing Arts Database lists this film as "No holdings located in archives." The complete LOC record is shown here.[k]

A 15-minute excerpt The Spirit of the U.S.A. is available for free viewing and download at the Internet Archive. The same film segment is also available on YouTube.