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<mask> (June 13, 1879 – November 13, 1939) was an American silent film actress, screenwriter, producer and director. She is identified in some historical references as "the most important female director the American film industry has known", and among "the most important and prolific film directors in the era of silent films". Film historian Anthony Slide has also asserted, "Along with D.W.Griffith, <mask> was the American cinema's first genuine auteur, a filmmaker involved in all aspects of production and one who utilized the motion picture to put across her own ideas and philosophies". <mask> produced a body of work which has been compared to Griffith's in both quantity and quality and brought to the screen her concerns for humanity and social justice in an estimated 200 to 400 films, of which as few as twenty have been preserved. She has been credited by IMDb with directing 135 films, writing 114, and acting in 100. <mask> was "one of the first directors to come to the attention of the censors in Hollywood's early years". <mask> has been credited with pioneering the use of the split screen technique to show simultaneous action in her 1913 film Suspense.In collaboration with her first husband, Phillips Smalley, in 1913 <mask> was "one of the first directors to experiment with sound", making the first sound films in the United States. She was also the first American woman to direct a full-length feature film when she and Smalley directed The Merchant of Venice in 1914, and in 1917 the first American woman director to own her own film studio. During the war years, <mask> "achieved tremendous success by combining a canny commercial sense with a rare vision of cinema as a moral tool". At her zenith, "few men, before or since, have retained such absolute control over the films they have directedand certainly no women directors have achieved the all-embracing, powerful status once held by <mask>". By 1920, <mask> was considered the "premier woman director of the screen and author and producer of the biggest money making features in the history of the film business". Among <mask>'s notable films are: the controversial Hypocrites, which featured the first full-frontal female nude scene, in 1915; the 1916 film Where Are My Children?, which discussed abortion and birth control and was added to the National Film Registry in 1993; her adaptation of Edgar Rice Burrough's Tarzan of the Apes novel for the very first Tarzan of the Apes film, in 1918; The Blot (1921) is also generally considered one of her finest works. <mask> is credited with discovering, mentoring, or making stars of several women actors, including Mary MacLaren, Mildred Harris, Claire Windsor, Esther Ralston, Billie Dove, Ella Hall, Cleo Ridgely, and Anita Stewart, and with discovering and inspiring screenwriter Frances Marion.For her contribution to the motion picture industry, <mask> was awarded a star on the Hollywood Walk of Fame on February 8, 1960. Early life
<mask> <mask> was born on June 13, 1879, in Allegheny City, Pennsylvania, the second of three children of Mary Matilda Snaman  and <mask>, an upholster and decorator who had spent several years in missionary street work. She was the younger sister of Elizabeth Snaman <mask> and older sister of <mask> Howland, who later appeared in two of <mask>'s films in 1916 and married assistant director Louis A. Howland. The <mask>s were a devout middle class Christian family of Pennsylvania German ancestry. <mask> was considered a child prodigy and an excellent pianist. As a girl, music was her passion, and her most treasured possession was a baby grand piano. <mask> left home and lived in poverty while working as a street-corner evangelist and social activist for two years with the evangelical Church Army Workers, an organization similar to the Salvation Army, preaching and singing hymns on street corners and singing and playing the organ in rescue missions in red-light districts in Pittsburgh and New York, until the Church Army Workers disbanded in 1900.In June 1900, <mask> was almost 21 and living with her parents and two sisters at 1717 Fremont Street, Allegheny, Pennsylvania, where she was a music student. By April 1903, <mask> was performing as a soprano singer and pianist. She toured the United States as a concert pianist until her final performance in Charleston, South Carolina, a year later. After a piano key broke during a recital, <mask> retired from the concert stage, having lost her nerve to play in public. Theater career
Frustrated by the futility of one-on-one conversions, and following the advice of an uncle in Chicago, <mask> decided to take up acting about 1904, and moved to New York City, where she took some singing lessons. <mask> later explained her motivation: "As I was convinced the theatrical profession needed a missionary, he suggested that the best way to reach them was to become one of them so I went on the stage filled with a great desire to convert my fellowman". For five years <mask> was a repertory and stock actress.After short stint as a soubrette in the farce comedy "Zig-Zag" for a Chicago-based touring company, <mask> resigned as it "proved too superficial for her altruistic aims". In 1904, <mask> joined the road company of "Why Girls Leave Home", where she became "a musical comedy prima donna and melodrama heroine". <mask> received "promising reviews" for her performance; for example, The Boston Globe wrote in September 1904 that she "sang two very pretty songs very effectively and won considerable applause". The troupe's leading man and manager was Wendell Phillips Smalley (1865–1939), a grandson of Oliver Wendell Holmes, and the elder son of New York Tribune war and foreign correspondent George Washburn Smalley (1833-1916) and Phoebe Garnaut Phillips (1841-1923), the adopted daughter of abolitionist Wendell Phillips. Smalley, who had attended Balliol College, Oxford and was a graduate of Harvard University, had been a lawyer in New York for seven years, and as a stage actor made his professional stage debut in August 1901 in Manhattan. He appeared in productions of Harrison Grey Fiske, Minnie Maddern Fiske, and Raymond Hitchcock. After a brief acquaintance, just before her 25th birthday, <mask> and Smalley, aged 38, married on April 29, 1904 in Chicago, Illinois.After initially touring separately from her husband, and then accompanying him on his tours, about 1906 <mask> left her career in the theater and became a homemaker in New York. During this period <mask> wrote freelance moving picture scenarios. Film career
In 1908, <mask> was hired by American Gaumont Chronophones, which produced phonoscènes, initially as a singer of songs recorded for the chronophone. Both Herbert Blaché and his wife, Alice Guy, later claimed to have given <mask> her start in the movie industry. At the end of the 1908 theatrical season, Smalley joined <mask> at Gaumont. Soon <mask> was writing scripts, and in 1908 <mask> began directing English language phonoscènes at the Gaumont Studio in Flushing, New York. In 1915 <mask> directed and starred in a film she had written called Hypocrites.In 1910, <mask> and Smalley decided to pursue a career in the infant motion picture industry. For the next five years, they worked and were credited as The Smalleys (but typically <mask> received sole writing credit) on dozens of shorts and features for small production companies like Gaumont, the New York Motion Picture Co., Reliance Studio, the Rex Motion Picture Company, and Bosworth, where <mask> wrote scenarios and subtitles, acted, directed, designed sets and costumes, edited films, and even developed negatives. <mask> took two years off her birth date when she signed her first movie contract. <mask> and Smalley had a daughter, Phoebe (named after Smalley's mother), who was born on October 29, 1910, but died in infancy. Rex Motion Picture Company
By 1911, <mask> and Smalley were working for William Swanson's Rex Motion Picture Company, based at 573–579 11th Avenue, New York City. While at Rex, <mask> gained her reputation as "a serious social uplifter and as the leading partner in the Weber-Smalley unit." In 1911, <mask> acted in and directed her first silent short film, A Heroine of '76, sharing the directorial duties with Smalley and Edwin S. Porter.At the time of Rex's merger with five other studios to form the Universal Film Manufacturing Company on April 30, 1912, <mask> and Smalley were the "prima facie heads of Rex", and had relocated to Los Angeles. Rex continued as a subsidiary of Universal, with <mask> and Smalley running it, making one two-reel film each week, until they left Rex in September 1912. Carl Laemmle startled the film industry with his use of and advocacy for women directors and producers, including <mask>, Ida May Park and Cleo Madison. In the autumn of 1913, shortly after the incorporation of Universal City, <mask> was elected its first mayor in a close contest that required a recount, and Laura Oakley as police chief. At the time, Universal's publicity department claimed Universal City was "the only municipality in the world that possesses an entire outfit of women officials". In March 1913, <mask> starred in the first English language version of Oscar Wilde's The Picture of Dorian Gray, which was produced for the New York Motion Picture Co., directed by Smalley from an adaptation by <mask>, and featuring Wallace Reid as Dorian Gray. In 1913, <mask> and Smalley collaborated in directing a ten-minute thriller, Suspense, based on the play Au Telephone by André de Lorde, which had been filmed in 1908 as Heard over the 'Phone by Edwin S. Porter.Adapted by <mask>, it used multiple images and mirror shots to tell of a woman (<mask>) threatened by a burglar (Sam Kaufman). <mask> is credited with pioneering the use of the split screen technique to show simultaneous action in this film, but the "oft-mentioned triptych shots had already been used in the Danish "The White Slave Trade" films (Den hvide slavehandel) (1910), and for telephone conversations." According to Tom Gunning, "No film made before WWI shows a stronger command of film style than Suspense [which] outdoes even Griffith for emotionally involved filmmaking". Suspense was released on July 6, 1913. In late 1913, <mask> and Smalley made The Jew's Christmas, a three-reel silent film that dramatizes the conflict between traditional Jewish values and American customs and values, illustrating the challenges of cultural assimilation, especially the generational conflict over interfaith marriage and the second generation's abandonment of the faith and customs of their ancestors. In "the earliest portrayal of a rabbi in an American film", The Jew's Christmas told the story of an orthodox rabbi (Smalley) who ostracizes his daughter (<mask>) for marrying a gentile, but is reconciled twelve years later on Christmas Eve when he meets an impoverished small child, who turns out to be his granddaughter. Endeavoring to combat racial discrimination and antisemitism, the film aims to show that love is stronger than any religious ties, and that "the tie of blood overbears the pride and prejudice of religion".In its assertion of "Melting-pot idealism" by its approval of intermarriage between people of different religions, the film was considered controversial at the time of its release on December 18, 1913. In 1914, a year in which she directed 27 movies, <mask> became "one of the first directors to come to the attention of the censors". That year, <mask> co-directed an adaptation of Shakespeare's The Merchant of Venice with Smalley, who also played Shylock. making her the first American woman to direct a feature-length film in the United States, and the first person who "directed the first feature-length Shakespearean comedy". In February 1914, Universal released the four-reel Rex silent film which was also adapted by <mask> and Smalley, and was also produced, directed, and starred <mask> as Portia, and Smalley as Shylock. The film featured Douglas Gerrard, Rupert Julian, and Jeanie MacPherson, who would play a major role in cinema as Cecil B. DeMille's favorite screenwriter. A "prominent rabbi in Chicago strongly objected on the grounds that the play 'more than any other book, more than any other influence in the history of the world, is responsible for the world-wide prejudice against the Jews'", but the film was praised at the time as "a supreme adaptation of Shakespeare".Robert Hamilton Ball considered the film "careful, respectful, dignified, but lacking in passion and poetry", which he attributes to the difficulty it had satisfying the censor, and because the film was a special release rather than a release on the regular programme, exhibitors had to pay extra for it, which may have contributed to its swift demise. The Merchant of Venice is now considered a lost film. One film that illustrates the paradoxical nature of <mask>'s role and films was her 1914 film The Spider and Her Web, where she advocates both modesty and maternalism. In this film, <mask> plays "The Spider", a vamp living the "ultra-modern high life" who seduces and ruins intellectual men until frightened into adopting an orphan baby, which results in the salvation of the lead character through motherhood. Bosworth
As Universal was reluctant to make feature-length films, in the summer of 1914 <mask> was persuaded to move to the Bosworth company by Julia Crawford Ivers, the first woman general manager of a film studio, to take over the production duties from Hobart Bosworth on a $50,000 a year contract, making her "the best known, most respected and highest-paid" of the dozen or so women directors in Hollywood at that time. In 1914, Bertha Smith estimated <mask>'s audience at five to six million a week. In fact, by 1915 <mask> was as famous as D.W. Griffith and Cecil B. de Mille.While at Bosworth, <mask> and Smalley made six features and one short, The Traitor. "Energized by evangelistic zeal and social conscience", from early in her career <mask> saw movies as "a vehicle for evangelism", and "an opportunity to preach to the masses", and to encourage her audience to be involved in progressive causes. In a 1914 interview <mask> declared: "In moving pictures I have found my life's work. I find at once an outlet for my emotions and my ideals. I can preach to my heart's content, and with the opportunity to write the play, act the leading role, and direct the entire production, if my message fails to reach someone, I can blame only myself." As many of <mask>'s films focused on a moral topic, she "was often mistaken as a Christian fundamentalist, but she was more of a libertarian, opposing censorship and the death penalty and championing birth control. The need for a strong, loving and nurturing home was clearly promoted as well and if there was a single maxim that underlay each film it was that selfishness and egocentricity erode the individual and community".Although not a practicing Christian Scientist, <mask> attended the Christian Science church regularly, according to Adela Rogers St. Johns, and, in at least two of her films, Jewel (1915) and its remake, A Chapter in Her Life (1923), Christian Science plays a prominent role. <mask>'s impeccable reputation and "impressive middle-class credentials" allowed her considerable artistic freedom in her presentation of controversial issues. In 1914, <mask> made her first major feature, a controversial version of Hypocrites, a four-reel allegorical drama shot at Universal City which she wrote, directed and produced, addressing social themes and moral lessons considered daring for the time. Hypocrites included the first film full-frontal female nudity, inspired by Jules Joseph Lefebvre's 1870 allegorical painting La Vérité, with truth portrayed in the ghostly figure of the Naked Truth, literally shown by an unidentified nude woman (Margaret Edwards). Margaret Sinclair Edwards (born 1877, New York City – died January 14, 1929, New York City), known on the stage as "Daisy Sinclair", appeared with the theatrical companies of Edward Harrigan, Eddie Foy, and Gus Edwards, among others. Her husband, John Edwards, an invalid, died the same year she did (1929). She appeared as Marguerite Edwards in A Physical Culture Romance in 1914, and in <mask>'s Sunshine Molly in 1915.Although the nudity was tastefully done (it was passed by the National Board of Review of Motion Pictures after a two-month delay), it was still banned in Ohio; caused riots in New York; and James Michael Curley, the mayor of Boston, demanded that every frame displaying the naked figure of Truth be hand-painted to clothe the then unidentified actress. Hypocrites was released finally by Bosworth on January 15, 1915, and premiered at Manhattan's prestigious Longacre Theatre, and was "celebrated as a cultural, artistic, and moral landmark for the film industry", and "praised for its use of multiple exposures and complex film editing". While its negative cost was $18,000, it earned $119,000 in sales in the United States alone and made <mask> "a household name". In a 1917 interview, <mask> denied the film was indecent and defended the film: "Hypocrites is not a slap at any church or creed – it is a slap at hypocrites, and its effectiveness is shown by the outcry amongst those it hits hardest, to have the film stopped". Universal

In April 1915, <mask> and Smalley left Bosworth when the founder left the company due to ill health. After being promised they could make feature-length films by Carl Laemmle, they returned to Universal Pictures. <mask>'s first movie for Universal was Scandal, in which both <mask> and Smalley starred, that featured the consequences of gossip mongering.In 1916, <mask> directed 10 feature-length films for

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 release by Universal, nine of which she also wrote, and she also became Universal Studios' highest-paid director, earning $5,000 a week. She "enjoyed complete freedom in overseeing most stages of the film-making process – choice of stories and actors, writing of scripts (which she invariably did herself), as well as direction". Universal head Carl Laemmle, "who was known more for his frugality and cunning business sense than philanthropy", said of <mask>: "I would trust <mask> with any sum of money that she needed to make any picture that she wanted to make. I would be sure that she would bring it back." In 1916, <mask> explained her philosophy of directing films: "I'll never be convinced that the general public does not want serious entertainment rather than frivolous", and "A real director should be absolute. He (or she in this case) alone knows the effects he wants to produce, and he alone should have authority in the arrangement, cutting, titling or anything else that may seem necessary to do to the finished product. What other artist has his work interfered with by someone else?...We ought to realize that the work of a picture director, worthy of a name, is creative". Bluebird Photoplays

In February 1916, <mask> and Smalley were transferred to Universal's Bluebird Photoplays brand, where they made a dozen features, including The Dumb Girl of Portici (also known as Pavlowa), adapted by <mask> from Daniel Auber's 1828 opera La muette de Portici, Russian ballerina Anna Pavlova's only screen appearance, which was directed to Pavlova's satisfaction by <mask>. The film also starred Rupert Julian as Masaniello. Released to popular acclaim, it premiered on April 3, 1916 at the Globe Theatre in Manhattan. Hoping to "become the editorial page of the studio", and to "provoke a middle-class sense of responsibility for those less fortunate than themselves, and to stimulate moral reforms", <mask> specialized in making films that stressed both high quality and moral rectitude, including films of the "burning social and moral issues of the day", among them such controversial themes as abortion, eugenics, and birth control in Where Are My Children? (1916), influenced by the trial of Charles Stielow, an innocent man who was almost executed, opposition to capital punishment based on circumstantial evidence in  The People vs. John Doe; and alcoholism and opium addiction in Hop, the Devil's Brew, which were all successful at the box office, but, while embraced by reformers in the film industry, "drew the ire of the conservatives". Despite the predominance of strong women in her films, in 1916 <mask> disassociated herself from the women's suffrage movement.In Where Are My Children? (working title: The Illborn), which was released on April 16, 1916, <mask> advocates social purity, birth control, and eugenics to prevent the "deterioration of the race" and the "proliferation of the lower classes", and makes "an indirect case for birth control or perhaps even for legalized, and safe, abortions". The film starred Tyrone Power, Sr. and his then-wife Helen Riaume; future star Mary MacLaren made her debut. It also makes use of several trick photography scenes, with an emphasis on multiple exposures to convey information or emotions visually. As a recurring motif, every time a character becomes pregnant, a child's face is double exposed over their shoulder. In March 1916, the National Board of Review expressed disapproval of the film for showings to mixed audiences, but later approved it for adult showings. It was banned in Pennsylvania on the grounds that it "tended to debase or corrupt morals", but Universal won a case in Brooklyn, New York in 1916 to show the film after the district attorney filed suit against the theater manager and the Universal exchange president.Controversy, the threat of censorship, and the banning of Where Are My Children? in some locations helped fuel the box office success of the film, estimated to have grossed in excess of $3 million, in an era where ticket prices were less than 50c each, and "rocketed <mask>'s name to larger audiences, bigger box-office returns, and an even higher annual income". The film spread <mask>'s fame internationally. For example, Kevin Brownlow indicates that this film attracted 30,000 in Preston, Lancashire, 40,000 in Bradford, Yorkshire, and 100,000 in two weeks in Sydney. In 2000, the Library of Congress Motion Picture Conservation Center copyrighted a preservation print reconstructed from several incomplete prints. Shoes, a "sociological" film released in June 1916 that <mask> directed for the Bluebird Photoplays, was based on Stella Wynne Herron's short story of the same name, which had been published in Collier's magazine earlier that year. Herron took inspiration from noted social reformer Jane Addams's 1912 book A New Conscience and an Ancient Evil.The nonfiction book depicts the struggles of working-class women for consumer goods and upward mobility and their dubious sexual activities, including prostitution. Starring Mary Maclaren as Eva Meyer, a poverty-stricken shopgirl who supports her family of five, who needs to replace her only pair of shoes, and is so desperate that she sells her virginity for a new pair, it proved to be the most booked Bluebird production of 1916. A version restored digitally from three extant fragments by EYE Film Institute Netherlands, made its debut in North America in July 2011. A scene from the restored "Shoes" showing architect John B. Parkinson's 1910 design for Pershing Square in Downtown Los Angeles has been used by the grassroots Pershing Square Restoration Society in promoting their campaign to restore the historic park. After another significant censorship battle, and a vigorous publicity campaign by Universal, on May 13, 1917, Universal released The Hand That Rocks the Cradle, "one of the most forceful films ever made in support of legalizing birth control", a follow-up to the previous year's top money-maker for Universal, Where Are My Children? Directed by <mask> and Smalley based on their original script, it starred Smalley and <mask>, in her last screen appearance, as a doctor's wife arrested and imprisoned for illegally disseminating family planning information. Influenced by the recent trial and imprisonment of pioneer birth control advocate Margaret Sanger, the film drew explicitly on her headline-generating activism.The film was released only weeks after Sanger's own film, Birth Control, was banned under a 1915 ruling of the United States Supreme Court that films "did not constitute free speech", and the ruling of the New York Court of Appeals that a film on family planning may be censored "in the interest of morality, decency, and public safety and welfare". Sensitive to the opinions of local communities, and hoping to avoid powerful censorship boards in the northeast and midwest, The Hand That Rocks the Cradle was distributed primarily in the southern and western regions of the United States, with the result that it did not attain the record-breaking attendance set by Where Are My Children? the previous year. When The Hand That Rocks the Cradle opened at Clune's Auditorium in Los Angeles in June 1917, <mask> appeared on stage, bitterly denouncing attempts to alter or suppress her film. While The Hand That Rocks the Cradle is now lost, the surviving script and accompanying marketing materials make it clear that <mask> mounted an unstinting argument in favor of "voluntary motherhood". Lois Weber Productions

In June 1917 <mask> became the first American female director to establish and run her own movie studio when she formed her own production company, Lois Weber Productions, with the financial assistance of Universal. She leased a self-contained estate, and had offices, dressing rooms, scenic and property rooms, and a  shooting stage constructed.Smalley was made studio manager, and the Smalleys made their home on the studio lot at 1550 N. Sierra Bonita Avenue. According to film historian Shelley Stamp, while <mask> and Smalley were often co-credited as directors, it was "the wife who clearly had the artistic vision to drive the business partnership forward". By this time, <mask>'s "idealized collaborative marriage" with Smalley had begun to show signs of deterioration, which was accelerated by the increased focus of critics and journalists on <mask> as the dominant filmmaker, at the expense of Smalley, after 1916, and <mask> increasingly took credit for her contributions after 1917. However, as early as 1913, some saw <mask> as the "fertile brain" in the partnership, with Smalley seen as an indolent womanizer "who chased every woman on the lot", which resulted in arguments and shouting matches. <mask> consciously resisted the industry's movement toward assembly line-style studio film making. "By concentrating on only one production at a time, and mobilizing her entire workforce around that effort, <mask> aimed for quality film making rather than efficient bookkeeping". <mask>'s independence allowed her to shoot her films in sequence, as she preferred (rather than out of order to suit production schedules).William D. Routt indicates that "Lois Weber Productions were a good investment, cost-effective. The company made movies cheaply: in later years at least shooting on location even for interiors, using a small cast, working fast. Its somewhat sensational topics and titles guaranteed at least a modest box office return, and at times may have done much better than that." Karen Mahar attributes the success of <mask>'s films of the 1910s to their representation of "the generational conflict of the era" between the traditional view of women and that of the freedoms of the emerging "New Woman and the emergent consumer culture". Mahar argues that "<mask>'s life was an expression of this generational divide: she was a stage performer and a Church Army Worker, a filmmaker and a middle-class matron, a childless advocate of birth control who 'radiates domesticity'". While <mask> was clearly a New Woman by virtue of her career, she was also publicly identified as the wife and collaborator of her first husband. Shelley Stamp argues that <mask>'s "image was instrumental in defining both her particular place in film-making practices, and women's roles within early Hollywood generally", and that her "wifely, bourgeois persona, relatively conservative and staid, mirrored the film industry's idealized conception of its new customers: white, married, middle-class women perceived to be arbiters of taste in their communities".While <mask>'s beliefs reflected modern values, as did her career as a filmmaker that was atypical for women of her era, she had "internalized much of what the Victorians deemed proper behavior for women", and there are "strong elements of the Victorian code of womanhood in her films". The Smalleys exemplified and promoted the Victorian ideal of marriage as companionship and a partnership. In 1917, <mask> was the only woman granted membership in the Motion Picture Directors Association, and from 1917 <mask> was active in supporting the newly established Hollywood Studio Club, a residence for struggling would-be starlets. After the United States entered World War I, <mask> served on the board of the Motion Picture War Service Association, headed by D. W. Griffith and including Mack Sennett, Charlie Chaplin, Mary Pickford, Douglas Fairbanks, William S. Hart, Cecil B. DeMille, and William Desmond Taylor. The Association raised funds for the construction of a thousand-bed hospital. In 1918, the Fox Film Corporation hired <mask> to direct Queen of the Seas, in which Annette Kellerman swam and dove naked. However, she was replaced eventually by John G. Adolfi.In September 1918, <mask> broke her left arm in two places when she fell in Barker Brothers, a downtown Los Angeles store, forcing her to be hospitalized in the California Hospital. <mask>'s arm was still causing her trouble seven months later. Anita Stewart Productions
Despite continuing to work at Universal, and renting out her studio to other independent producers, including Marshall Neilan, <mask> found it difficult to pay the bills and to find the capital to finance her own productions. By December 1918, <mask> had left Universal, and signed a contract with Louis B. Mayer to direct Anita Stewart for $3,500 a week. In a letter to <mask>, Mayer proclaimed: "My unchanging policy will be great star, great director, great play, great cast. You are authorized to get these without stint or limit. Spare nothing, neither expense, time, or effort.Results only are what I'm after." <mask> made two films with Stewart as the lead: A Midnight Romance and Mary Regan, both released in 1919 to mixed reviews. Famous Players-Lasky
Needing finances, in July 1919 <mask> signed a contract with Famous Players-Lasky to direct five films to be distributed through Paramount-Artcraft for $50,000 each, plus one-third of the profits, and guaranteed first-run bookings in Paramount theaters. By January 1920, Smalley and <mask> purchased a two-level home at 1917 N. Ivar Avenue, Hollywood, later the home of Preston Sturges in the 1940s. In October 1920, <mask> purchased the studio facilities at 4634 Santa Monica Boulevard in Los Angeles, near Sunset Boulevard, which she had been leasing for the previous three years. By February 1921, <mask> was at the zenith of her career, regarded "as fearless in the production of her pictures as she once was in her struggle for a living, and her indubitable position is that of one of the best directors of the screen." One newspaper wrote, "<mask> is not only the foremost woman director – she's the whole works", and attributed her success to having "a feminine touch lacking in most man-made films".In an effort to protect the American film industry, by 1921 <mask> advocated the prohibition of the importation of all European films into the United States. In May 1921, <mask> anticipated the possibility of both color and "three-dimensional films". Following "the cinematic rumination on modern marriage begun by Cecil B. DeMille" and like other post-war filmmakers, <mask> turned her attention toward marriage and domestic life to honor her deal with Famous Players-Lasky with such melodramas as To Please One Woman, What's Worth While? Too Wise Wives, and What Do Men Want? However, as the United States entered the Jazz Age in the 1920s, <mask> came to be seen as passé, in part because of her "propensity for didacticism" but also because her "values became increasingly archaic; her moralising, propagandistic tone was unsuited to the era of the 'flapper' girl and a hedonism that seemed all the more urgent". By this time her "morally upright films bored modern audiences", her crusading was unwanted, and her views were considered "quaint". Her fall from favor was also due to her inability or unwillingness to adapt to changing audience tastes, and "her refusal to feature big-name stars or to glamorize consumerist excess in her films."After an advance screening in February 1921, Paramount executives decided not to distribute the fourth film in their arrangement with <mask>, What Do Men Want? a domestic melodrama about a philandering husband and a faithful wife (Claire Windsor), and to cancel their arrangement with <mask> to distribute her films. After making 13 films, by April 1921, Lois Weber Productions collapsed, and <mask> was forced to release all her contracted staff, with the exception of two novice actors. While she would direct a few other movies, effectively her career as a Hollywood director was over. F.B. Warren Corporation

After reading the articles "Impoverished College Teaching" and "Boycotting the Ministry" in the April 30, 1921 issue of Literary Digest about the underpayment of educators and clergy, <mask>, with scenarist Marion Orth, crafted a melodramatic narrative to bring the issue to life in The Blot. Starring Claire Windsor and Louis Calhern, The Blot was her masterpiece, her most successful film from this period and probably <mask>'s best-known film today.The film "rejects the values of capitalist America that measures the value of people in wealth and property" by depicting the compromises and choices impoverished women are forced to make to achieve social mobility and financial security. It "condemns capitalistic materialism and linked consumerism with sexual exploitation", and addresses class, money, and ethnicity. "<mask>'s basically Christian ethos shines clearly through this plot: the text disapproves of both the new consumerist immigrant class, and the old aristocratic one". Despite xenophobic assumptions, <mask> advocates learning, asceticism, and service to the needy. According to film historian Kevin Brownlow in The Blot, "<mask>'s technique is reminiscent of that of William C. deMille, with its quietness, in its use of detail, and its emphasis on naturalism. <mask> used the same method of direction, too, filming in continuity." To tell with maximum realism this story of a college professor's family – hardworking but with only a meager income – <mask> filmed in real houses, using a special lighting rig, and gave supporting roles to non-actors.To emphasize this film was a woman-centered narrative, in a "radical departure from Hollywood practice", <mask> used point-of-view cutting from the perspective of the professor's wife. <mask> also used extreme close-ups and an ambiguous ending, that Richard Combs describes The Blot as "so un-Griffithian as to seem almost modernistically open-ended", while others see it as almost surreal, declaring it "the Los Olvidados of the literally down at heel middle class". Due to the collapse of her distribution deal with Paramount, <mask> was forced to distribute The Blot

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 through the F.B. Warren Corporation, a newly formed small independent company that would also distribute a film each by Canadian women producers Nell Shipman and May Tully, later in 1921. The Blot was released on September 4, 1921, but was not well-received critically and did little box office, and vanished after its run. After The Blot, <mask>'s films did not make money at the box office. For decades, The Blot was considered a lost film, until it was rediscovered by the American Film Institute in 1975 and was reconstituted and restored by Robert Gitt of the UCLA Film & Television Archive in 1986 from an incomplete negative and an incomplete print.The Blot was then produced for video by Kevin Brownlow and David Gill of Photoplay Productions, and released on home video and DVD. As part of the deal to distribute The Blot, F.B. Warren also released What Do Men Want? After the film's premiere at Manhattan's Lyric Theatre on November 13, 1921, The New York Times, while praising <mask> for her casting and the technical aspects of the film, and also the performance of Claire Windsor, dismissed the film as a "simplified sermon" that provided "pat answers" which ignored "the real facts of life", which it considers "incompetent, irrelevant and immaterial". Soon after the New York City premiere of The Blot, and in an attempt to salvage their troubled marriage, <mask> and Smalley sailed for Europe with <mask>'s sister and brother-in-law, Ethel and Louis A. Howland. They ultimately traveled for six months through Europe, Egypt, China, and India. In late December 1921, they were in Rome, with plans to travel to the Orient.<mask> and Smalley returned to the United States on April 7, 1922. On June 24, 1922, <mask> obtained a divorce secretly from Smalley, who was described as both alcoholic and abusive, but kept him as a friend and companion. Their divorce was made public on January 12, 1923 by the Los Angeles Examiner. Universal

Upon her return to Hollywood, <mask> found an "'industry in transition', evident in the fact that Erich von Stroheim was out of favor, D. W. Griffith was gradually more marginalized, and Rex Ingram, like von Stroheim, could not adapt to production changes demanded by the consolidated studios." As Shelley Stamp explains, "In an age of studio conglomeration and vertical integration, few independents could survive, a reality that hit women particularly hard: both Alice Guy-Blaché and Nell Shipman closed their production companies during this period as well. Will Hays, newly installed at the MPPDA, was also beginning to assert greater control over studio releases." In November 1922, <mask> returned to Universal, where she directed A Chapter in Her Life, based on the 1903 novel Jewel: A Chapter in her Life by Clara Louise Burnham, and a remake of a 1915 film called Jewel, which she had directed previously with Smalley.A Chapter in Her Life was part of "a slate of literary adaptations Universal released that year, headlined by Lon Chaney's The Hunchback of Notre Dame and marketed under the tag line "Great Pictures made from Great Books with Great Exploitation Tieups." The film starring Claude Gillingwater was released on September 17, 1923. However, according to Stamp, "Without a chain of theaters under its control, like emerging studio giants MGM and Paramount, Universal now occupied a significantly different market position than it had during the height of <mask>'s career there in the mid-1910s. With the bulk of urban, first-run theaters closed to Universal, the studio now relied on independent theaters mainly located in small towns and rural areas. Nor was the studio home to the female directing talent it had once been—<mask> was now on her own." Consequently, Universal's trade ads made a clear pitch to small-town exhibitors, offering them "quality" pictures at reasonable prices, providing access to first-run pictures many studios reserved for their large urban venues. A Chapter in Her Life is available on home video and DVD from Nostalgia.Hiatus
While <mask> was praised for her direction in A Chapter in Her Life, "critics felt the film's subject matter – a young girl whose love and faith transform the troubled adults in her life – was ultimately out of step with the times. Film Daily dubbed the material 'old fashioned', with other critics objecting to the film's 'Pollyanna' themes." <mask> subsequently left Universal, vowing not to produce any films for a while, intending to write plays and a novel instead. She traveled to Europe again and spent time at the Colorado summer home of her friend, novelist Margaretta Tuttle, who had written the novel Feet of Clay (later made into a 1924 film by Cecil B. deMille), saying she would remain on vacation until the censors "came to their senses". At the time, <mask> complained of both the control exerted by consolidated studios, as well as the ever more strenuous censorship of the Hays Code: "I have received many offers, but in each case I'm hampered with too many conditions. ... The producers select the stories, select the cast, tell you how much you can pay for a picture and how long you can have to make it in.All this could be borne. But when they tell you that they also will cut your picture, that is too much." The trade journal Film Mercury declared that "it would be interesting to know why [<mask>] has made no films in the past year or so," noting that "it is almost a crime for such wonderful director material to be lying idle while third-raters flood the screen with junk." After suffering a nervous collapse in 1923, <mask> made no movies until 1925. During this period, when <mask> ostensibly "retired from public life", it was rumored that <mask> had attempted suicide and had entered a mental facility to treat her mental depression. By the end of January 1925, <mask> announced her engagement to Captain Harry Gantz (born in Deadwood, South Dakota on September 4, 1887; died August 11, 1949 in Cairns, Queensland, Australia), a retired army officer who had served as a second lieutenant in the Philippine Constabulary from 1907 to 1911, then as a second lieutenant in company C of the 23rd Infantry from 1912 to 1915. In October 1914, Gantz transferred from the 23rd Infantry to the Aviation Section, U.S. Signal Corps, and became a pioneer aviator during the Pancho Villa Expedition, making him an early bird of aviation.On September 1, 1915, Gantz married Beatrice Wooster Miller. At the time of his engagement to <mask>, Gantz was a wealthy orange rancher and the owner of the 140-acre El Dorado Ranch in Fullerton, California. Gantz is credited with bringing <mask> "out of a retirement which was more nearly a despondent withdrawal from public life". However, Anthony Slide indicates that Gantz was "something of an opportunist, who persuaded <mask> to marry him — and co-incidentally let him manage her considerable fortune." Universal
In January 1925, <mask> returned once again to Universal, hired by Carl Laemmle to take charge of all story development for a $5 million production initiative based around the adaptation of popular novels. Universal released one major big-budget film each year, including The Hunchback of Notre-Dame (1923) and The Phantom of the Opera (1925), both starring Lon Chaney, Sr. After two unsuccessful previews, in 1925 <mask> and Maurice Pivar were assigned to re-edit The Phantom of the Opera before its ultimate release in September 1925. Another novel which Universal decided to film was Uncle Tom's Cabin, for which <mask> completed an adaptation for a film to be directed in 1926 by Harry A. Pollard, who had starred as Uncle Tom in a 1913 version and was, by 1923, Universal's leading director, with nine consecutive hits.In 1926, <mask> signed a new distribution deal with Universal, making her "one of the highest paid women in the business". One of her first "comeback" movies was The Marriage Clause, which <mask> adapted from the short story "Technic" by Dana Burnet in The Saturday Evening Post of May 16, 1925. It starred Francis X. Bushman and brought contract player Billie Dove to international prominence. It was released on September 12, 1926. By June 1926, <mask> was signed to direct Sensation Seekers, a romantic drama based on Ernest Pascal's novel Egypt, that also starred Billie Dove. However, just before her wedding, <mask> replaced Pollard as director of Uncle Tom's Cabin, as he had been hospitalized in Manhattan with blood poisoning and a shattered jaw caused by the "maltreatment" of a tooth infection by a New York dentist. <mask> ceased work on Sensation Seekers and was willing to interrupt her honeymoon to travel to Louisiana to direct the location scenes for Uncle Tom's Cabin.On June 15, the Los Angeles Times reported Gantz had obtained a license to marry <mask>. On June 30, 1926, a justice of the peace married the couple in a ceremony at Enchanted Hill, the home of screenwriter Frances Marion in Santa Ana, California. At their wedding, <mask> reduced her age by nine years to 38 to match her new husband. In 1927, Smalley married music teacher Phyllis Lorraine Ephlin. After five months during which his life was in serious jeopardy, and six jaw operations, Pollard emerged from hospital "disfigured for life, but undaunted, ready once more to resume his megaphone". <mask> was no longer required for Uncle Tom's Cabin. <mask> returned to direct Sensation Seekers, which was released on March 20, 1927.United Artists
In November 1926, <mask> joined United Artists to direct a comedy film called Topsy and Eva based on a popular play of that name written by Catherine Chisholm Cushing, featuring the Duncan Sisters in blackface. <mask> had adapted from the original novel when she was attached to the Universal version of Uncle Tom's Cabin. She attempted to make another serious adaptation, but the studio decided that it should be a comedy rather than a drama. After some shooting by <mask>, she thought some of the scenes to be shot were insulting to African Americans, including such "racist humor as a stork dropping a black baby into a trash can". Topsy and Eva was reassigned to Del Lord to direct, with some additional scenes by D.W. Griffith. By 1927, <mask> advised young women to avoid filmmaking careers. In 1927 DeMille Pictures signed <mask> to direct her final silent movie, The Angel of Broadway, which featured Leatrice Joy, released on October 3, 1927.However, the advent of sound technology and the demise of silent movies, coupled with some negative reviews and poor box office receipts, ended <mask>'s comeback in 1927. For example, Variety believed The Angel of Broadway'''s sentimentality would appeal to the masses, but not to sophisticated urban audiences: "For New York this title is a dud, but in the hinterland it may well be esteemed box office. Pathe has, in fact, a very good commercial property for the territory west of Hoboken". Nadir
By February 1927, <mask> owned and operated <mask>'s Garden Village at 4633 Santa Monica Boulevard in Los Angeles. In the late 1920s, <mask> and Gantz sub-divided the El Rancho ranch, creating the upscale "Brookdale Heights" (now at West Brookfield Place), Fullerton, with the 300–400 residential lots advertised for $1,500 to $3,000 each, and houses priced at $8,000 to $9,000 each. On another part of their acreage, the Gantzes built a Spanish-style residence with a tower retreat for <mask> at 225 W. Union Ave. When <mask> was asked in April 1928 when she might direct again, she replied "when I find a producer who thinks I have intelligence enough to be let alone and go ahead with my own unit."Five years elapsed before <mask> got the opportunity again. While <mask> and Gantz appeared to be enjoying domestic harmony in March 1930, soon afterward <mask> was separated from Gantz and was living with her mother and nephew in Los Angeles. In 1931, Gantz sold the El Dorado ranch to C. Stanley Chapman, the son of Charles C. Chapman. By 1932, <mask> was still separated from Gantz and was managing an apartment building in Fullerton, California. In February 1932, Universal released a condensed version of Shoes called The Unshod Maiden, complete with satirical narration. Final comeback
Through the intervention of Frances Marion, by early June 1932 <mask> was hired by United Artists as a script doctor to work on Cynara with Marion. In February 1933, Universal signed <mask> to scout for new talent and to direct screen tests.Within weeks, <mask> had interviewed 250 girls and young women from dramatic schools. In 1933, Universal offered <mask> another directing contract, assigning her to Edna Ferber's Glamour, but she was removed from the project abruptly and it was transferred to a reluctant William Wyler. <mask> and Gantz spent five weeks on location in Kauai, Hawaii from August 24, 1933,Ancestry.com. California Passenger and Crew Lists, 1882–1957 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2008–2011. Archive information (series:roll number): m1764:47. as she had been hired by the Seven Seas Corporation to direct Virginia Cherrill (then the fiancée of Cary Grant) and Mona Maris in Cane Fire, a tale of racial prejudice and miscegenation on a Hawaiian sugar plantation. Made on a low budget on the plantations of the Kekaha Sugar Company and the Waimea Sugar Company and at Alexander McBryde's Lawai Kai estate, it was the first film shot on the island of Kauai.It was released as White Heat by the Pinnacle Production Company on June 15, 1934 to limited "commercial and critical success", with <mask> quoted as saying at the time that the film "was not a hit but will not lose any money".White Heat proved to be her final film, and her only talkie. It was shown on television on Friday, June 21, 1940 on NBC's station W2XBS, but is now considered a lost film. Later years and death
<mask> and Gantz divorced about 1935. "<mask>", The Hartford Courant (Hartford, CT: November 14, 1939). In November 1939, <mask> was admitted to Good Samaritan Hospital in critical condition, suffering from a stomach ailment that had afflicted her for years. She died almost two weeks later on Monday, November 13, 1939, destitute, from a bleeding ulcer. She was 60 years old.Her younger sister, Ethel Howland, and friends Frances Marion and Veda Terry, were at her bedside. Her death was largely overlooked, with her Variety obituary only two brief paragraphs longVariety (November 15, 1939). and a brief mention in the Los Angeles Examiner. Gossip columnist Hedda Hopper contributed a more substantial tribute in the Los Angeles Times. On Friday, November 17, 1939, more than 300 people attended <mask>'s funeral,"<mask> Rites Set for Today", Los Angeles Times (November 17, 1939): 30. which was paid for by Frances Marion. After the funeral, <mask> was cremated at the Los Angeles Crematory and the location of her remains is unknown. <mask> wrote a memoir, The End of the Circle, which was to have been published shortly before her death  but ultimately was not, despite the efforts of her sister, Ethel Howland, and was later stolen in the 1970s.For her contribution to the motion picture industry, on February 8, 1960, <mask> was awarded a star on the Hollywood Walk of Fame at 6518 Hollywood Blvd. Legacy
The Buffalo Dreams Fantastic Film Festival gives out the <mask> Award in her honor since 2017. A one-woman play, Tea with <mask>, is based on <mask>'s talks at the Hollywood Studio Club. Written, produced and directed by Susan Kurtz, it was recorded and shown at the 53rd Cinecon Film Featival in 2017. Selected filmography

Further reading
Acker, Ally. Reel Women: Pioneers of the Cinema 1896–present. New York, 1991.Foster, Gwendolyn Audrey. Women Film Directors: An International Bio-critical Dictionary. Westport, CT; London, 1995. Koszarski, Richard. 1976. Hollywood Directors: 1914-1940. Oxford University Press.Library of Congress Catalog Number: 76-9262. Lowe, Denise. An Encyclopedic Dictionary of Women in Early American films, 1895–1930. Routledge, 2005. Norden, Martin F. The Birth Control Films of Margaret Sanger and <mask>. (forthcoming). Norden, Martin F.  <mask>: Interviews.Jackson, MS: University Press of Mississippi, 2019. Pendergast, Tom and Sara Pendergast, eds. International Dictionary of Films and Filmmakers, Vol. 2: Directors. Detroit, MI: 2000. Slide, Anthony. <mask>: The Director Who Lost Her Way in History.Westport, CT: Greenwood Press, 1996. Stamp, Shelley. "'Exit Flapper, Enter Woman,' or <mask> in Jazz Age Hollywood". Framework (Fall 2010). Stamp, Shelley. <mask> in Early Hollywood. University of California Press, May 2015.Tibbetts, John C. and James M. Welsh. The Encyclopedia of Filmmakers. Vol. Two. New York, NY: 2002. Unterburger, Amy L., ed. Women Filmmakers & Their Films.Detroit, MI; New York; and London, 1998. Douglas, Illeana, et al., Pioneers: First Women Filmmakers''. Copublished by Library of Congress and Kino Classics, NY, 2018. Pages 52–57 provide overviews and details of several films <mask> and Phillips Smalley co-created between 1911 and 1921. These restored films are featured on disc three of this collection from Kino Lorber, Inc.

References

External links

<mask> at the Women Film Pioneers Project
Literature on <mask>
The Films of <mask>

1879 births
1939 deaths
American people of Pennsylvania Dutch descent
American film actresses
American silent film actresses
Actresses from Pittsburgh
Silent film directors
20th-century American actresses
American women film directors
Film producers from Pennsylvania
American women screenwriters
Writers from Pittsburgh
Film directors from Pennsylvania
Deaths from ulcers
Women film pioneers
Screenwriters from Pennsylvania
American women film producers
20th-century American women writers
20th-century American screenwriters
Burials at Kensico

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<mask><mask> (25 October 1849, Asch, Bohemia Austrian Empire – 1 April 1929, San Francisco) was an Austrian-born American physician and ardent, influential exponent of homeopathy. He is known in the field today as the compiler and editor of the Pocket Manual of Homeopathic Materia Medica. The ninth edition has endured as his most re-published version partly because of its then final inclusion of a mini-repertory by his brother, <mask>, MD, also a homeopathic physician. Early life
As a child, <mask>e immigrated to the United States with his family from Asch, then part of the Austrian Empire, a Bohemian region that, since the end of World War II, was part of Czechoslovakia, then, since 1993, the Czech Republic. The Boerickes settled in Cleveland. <mask>'s father, <mask> (1813–1901), married twice, his second being to Henriette C. née Jaenig (1836–1902), <mask>e's stepmother. Medical journal
Boericke was the founding editor in November 1882 of the journal, The California Homeopath.The first five volumes were published bi-monthly. Willis Alonzo Dewey, MD (1858–1938) became co-editor with volume six. Charles Lewis Tisdale, MD (1859–1925), was added as editor with volume eight. With volume nine in 1892, the name changed to The Pacific Coast Journal of Homeopathy under a new editor, Hugo Emil Rudolph Arndt (1849–1913). Boericke was editor again from 1910 to 1915 and from 1918 to 1922. The journal ran until 1940, closing under the editorship of one of Boericke's sons, Charles Caleb <mask>, MD (1897–1965). The publication had been the official  of the state homeopathic medical societies of California, Oregon, and Washington.Hospital and medical college in Northern California
Boericke co-founded the Pacific Homeopathic Medical College and Hahnemann Hospital in 1881. In 1883, Boericke was a co-incorporator and founding faculty member of the Hahnemann Medical College of San Francisco, graduating its first class in October 1884. The Hahnemann Medical College was absorbed by the University of California, San Francisco, Medical School in July 1918. That same year, the University appointed Boericke as its first homeopathic lecturer, a position he had held from 1883, at the original college, to 1922, at UCSF. Instruction in homeopathy continued at UCSF until 1939, when the school dropped it from the curriculum. Boericke & Tafel

In 1853, <mask>e's uncle, Francis Edmund <mask> (1826–1901), and Rudolph Leonhard Tafel (1831–1896) founded a bookstore specializing in Swedenborgian literature, at 24 South 5th in Philadelphia. Upon the suggestion of Constantine Hering, they began to manufacture and sell homeopathic remedies.Within six months of the formation of the partnership, Rudolph Tafel left to assume a teaching position at the U.S. Naval Academy. That same year (1854), <mask> married Rudolph Tafel's sister, Eliza Mathilda Tafel (1838–1904). Francis Boericke kept the small book store, and took in Rudolph's brother, Adolph Julius Tafel (1839–1995), as an apprentice. In 1855, Adolph Tafel left for the West. In 1863, Francis Boericke earned a medical degree from the Homeopathic Medical College of Pennsylvania. In 1869, he formed a partnership with Adolph Tafel, Boericke & Tafel, a publishing company, homeopathic medicine wholesaler, retailer, and manufacturer, in Philadelphia, headquartered at Fifth Street, above Chesnut.When <mask>e graduated from public high school in Cincinnati in 1863, he moved to Philadelphia to work for the Boericke pharmacy. In 1870, Boericke & Tafel opened a branch in San Francisco called "Pioneer Homeopathic Pharmacy", located at 234 Sutter Street. <mask>icke ran it from its inception. In 1876, <mask>e moved back to Philadelphia to attend Hahnemann Medical College, where he graduated with an MD in 1880. He then studied at the Vienna Medical School for one year. Boericke & Schreck
In 1882, <mask>e moved back to San Francisco to practice medicine and, in the spring of that same year, he and Ernest Albert Schreck (1831–1886) purchased the Pioneer Homeopathic Pharmacy and henceforth named it Boericke & Schreck. Boericke and Runyon Company
Schreck died in 1886.In October 1890, Edward Wheelock Runyon (1851–1937) purchased Schreck's half interest and the firm henceforth, until 1950, was known as "Boericke and Runyon". Around 1894, Boericke and Runyon took on another partner, Frederick O. Ernesty (1951–1959) and the firm became known as Boericke, Runyan & Ernesty. Ernesty sold his interest to Boericke and Runyon in 1899 and retired. Around 1920, Boericke and Runyon began producing popular non-prescription home-remedy medicines under the tradename EOPA, the middle four alpha characters from the word "Hom-eopa-thy". EOPA eventually became a subsidiary of Boericke and Runyon – Eopa Company – and distributed medicines nationwide. The Eopa Company operated nationally until the early 1950s. In 1877, Boericke & Tafel opened a pharmacy in Oakland at the Grand Central Hotel at 956 Broadway.They suspended operations in 1882, selling it to <mask> Brueck, a homeopathic pharmacist who had been their manager. In 1886, Brueck sold it to Boericke and Schreck. Legacy
When <mask>e died in 1929, approximately three-fourths of the stock in Boericke & Tafel descended to his four surviving sons: (i) Garth Wilkinson <mask>, MD (1893–1968), (ii) <mask> <mask> (1885–1963), (iii) Charles Caleb <mask>, MD (1897–1965), (iv) Arthur Thacher <mask> (1899–1972). Before the end of the 19th century, Boericke & Tafel, headquartered in Philadelphia, became the largest manufacturer of homeopathic medicines in the United States. In 1987, Boericke & Tafel was acquired by VSM (nl) (Voorhoeve Schwabe Merkgeneesmiddelen) of the Netherlands, a subsidiary of the Willmar Schwabe Group (de) of Germany. In 1992, Boericke & Tafel moved to Santa Rosa, California. In 2005, Schwabe Pharmaceuticals closed its Santa Rosa manufacturing facilities and moved its marketing and distribution departments to a sister company, Nature's Way, in Utah, and its manufacturing to the Netherlands and Mexico, where Schwabe, at that time, had facilities that were underused.Boericke and Runyon Company was eventually, sometime after 1950, acquired by Boericke & Tafel. Boericke, who was known internationally in the field of homeopathy, flourished in several dimensions of homeopathy during its rise in the United States. He was a popular clinical physician, prolific academic writer, publisher, medical journal editor, owner of several pharmacies, medicine manufacturer, medical school professor, and published researcher. To the extent that homeopathy had been, and still is, criticized by the mainstream medical community in North America, Boericke's era of homeopathy, and Boericke in particular, was highly transparent and well-published. Boericke was also well-known and influential in Europe, particularly Germany – the birthplace of homeopathy, whose people spoke the language of Boericke's childhood. At the end of the 19th century, there was hardly a U.S. city with over 50,000 people that didn't have a homeopathic hospital. In 1890, there were 93 regular medical schools, of which 14 were exclusively homeopathic and 8 were eclectic.In 1900, there were 121 regular medical schools, of which 22 were exclusively homeopathic, and 10 were eclectic. Also in 1900, there were more than 100 homeopathic hospitals, over 60 homeopathic orphan asylums and old people's homes, and over 1,000 homeopathic pharmacies. Teaching of homeopathy in the United States declined rapidly in the early 20th century. The last purely homeopathic medical school closed in 1920, although homeopathic electives continued to be offered by the Hahnemann Medical School in Philadelphia until the 1940s. Criticism in 21st century about the validity of homeopathy is not entirely dissimilar to the criticism of Boericke's era. And, despite the rise in the sale of homeopathic preparations since the late 1980s, particularly in North America, Europe and India, there is one contrasting difference as of 2010: only Arizona, Connecticut, and Nevada license MDs and DOs to practice homeopathy. Personal life
<mask>e finished medical school in 1880 and moved back to San Francisco around 1881.On August 22, 1883, in San Francisco, he married Katherine (Kate) Worcester Fay (1861–1933), the daughter of Caleb Taylor Fay (1821–1885), a Forty-Niner from Massachusetts, San Francisco merchant, and participant in local and California state politics. <mask> and Kate Boericke had five sons and two daughters; the daughters were twins; two of the sons were:
 Garth Wilkinson <mask>, MD (1893–1968), graduated in 1918 from the University of Michigan Medical School and taught pediatrics there. He became a surgeon and a published several articles in medical journals on homeopathic medicine. Garth's middle name was from James John Garth Wilkinson, a Swedenborgian writer and close friend of <mask>e. Charles Caleb <mask>, MD (1897–1965), was a physician, surgeon, and influential exponent of homeopathic medicine. But it remained unpublished for 79 years – until Richard M. Haehl (1873–1932) in 1921 and <mask>e in 1922 produced German and English versions, respectively. Hahnemann's manuscript is held at the University of California, San Francisco library.Boericke worked from the original manuscript; Haehl, of Stuttgart, worked from a handwritten copy. Articles and lectures

 "Differentiation Between Melilotus, Glonoin and Belladonna", Pacific Coast Journal of Homeopathy, Vol. 8, No. 5, May 1905, pps. 101–103;
 "Hahnemann's Doctrine of Psora in the Treatment of Disease in Children", The Hahnemannian Monthly, Vol. 29, No. 32, August 1894, pps.500–504;
 "Homeopathy – A Specialty in Therapeutics", Pacific Coast Journal of Homeopathy, Vol. 3, No. 12, December 1895, pps. 451–456;
 "Pain and Its Homeopathic Treatment", North American Journal of Homeopathy, Vol. 46, No. 5, May 1898, pps. 1–7;

Notes

References

External links
 About the manuscript of Samuel Hahnemann's Organon der Heilkunst, Special Collections, University of California, San Francisco
 Materia Medica by <mask>e, full book

1849 births
1929 deaths
American homeopaths
American medical historians
Medical journalists
American medical journalists
People from San Francisco
American pharmacists
Drexel University alumni
Journalists from California
Historians from California

masks:
William G
. Boericke
Oscar Eugene Boericke
William Boerick
William Boericke
Franz Oskar Boericke
William Boerick
Boericke
William Boerick
Boericke
Francis Boericke
William Boerick
William Boer
William Boerick
William Boerick
William Adelbert
William Boerick
Boericke
William Fay
Boericke
Boericke
Boericke
William Boerick
William
Boericke
William Boerick
Boericke
William Boerick
William Boerick


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<mask> (March 14, 1882 – May 10, 1931) was an American artist and founding president of the Charleston, South Carolina, branch of the National Association for the Advancement of Colored People. He was excluded from the whites-only artistic movement known as the Charleston Renaissance. Early life
He was born in Charleston, South Carolina, on March 14, 1882. He was one of five surviving children of <mask> and <mask>, a prosperous former coastal schooner captain who owned the Harleston Funeral Home. His mother traced her lineage through several generations of free people of color, while his father was descended from a white planter and one of his slaves. <mask> won a scholarship to study at the Avery Normal Institute, from which he graduated as valedictorian in 1900. He went on to Atlanta University, where he studied chemistry and sociology and took courses with W. E. B.Du Bois, who became a lifelong friend. After graduating in 1904, <mask> stayed on for a year as a teaching assistant in both sociology and chemistry while planning the next step in his education. Although he was admitted to Harvard University, he decided instead to attend the Boston Museum of Fine Art's school. There he studied under the painters William McGregor Paxton and Frank Weston Benson from 1905 to December 1912. <mask> also attended the Art Institute of Chicago over the summer. <mask> returned to South Carolina in 1913 to help his father run the funeral home, continuing to do so until 1931, the year both he and his father died. He became active in local civil rights groups and in 1917 rose to be president of Charleston's newly formed branch of the NAACP.One campaign he led succeeded in getting the local public school system to hire black teachers. Art career

<mask> painted in a realist style that was influenced by both his Boston training and his wife Elise Forrest <mask>'s photographic work. He mostly painted portraits, often on commission, and his sitters included notables such as Grace Towns, who later became the first African-American woman elected to the Georgia General Assembly; philanthropist Pierre S. du Pont; and Edward Twitchell Ware, a former president of Atlanta University. He also painted genre scenes of the daily life of Charleston's African-American citizens, especially its rising middle class, as well as landscapes of South Carolina Lowcountry. Out of step with the rising modernism of the 1920s, he saw himself as continuing in the tradition of Henry Ossawa Tanner by portraying black people and their lives realistically instead of as caricatures or stereotypes. <mask> was described by W. E. B. Du Bois as the "leading portrait painter of the race" even though his responsibility for helping to run the funeral home meant he could never devote himself to being a painter full-time.In 1920, <mask> married photographer Elise Forrest, with whom he opened a studio across the street from the funeral home. This studio, which had both workspace and a public gallery to promote their artwork, was the first such public art establishment for Charleston's African-American citizens. <mask> often used Elise's photographs as the basis of his paintings and drawings; one of his best-known works, Miss Sue Bailey with the African Shawl, is based on a photograph by Elise. A three-quarter length seated portrait in dark colors and muted light, the painting exemplifies <mask>'s commitment to portraying his sitters with dignity. <mask> was actually so pleased with the painting that he entered it in the 1930 Harmon Foundation Awards. Starting in 1930, <mask> helped artist Aaron Douglas paint his Symbolic Negro History murals for Fisk University; these are now considered among Douglas's most important works. This project was completed in 1930, the year before <mask> died.In 1930, <mask> painted Douglas's portrait with the unfinished mural in the background, typically emphasizing the sitter's profession and character while avoiding any suggestion of the picturesque. This mural is vastly different from his usual painting style, which consisted of muted colors like those seen in the painting of Miss Sue Bailey with the African Shawl. The colors he used in the mural showcase a much more vibrant range of shade, which display his range as an artist, and they way he could adjust to work with other artists. <mask> won a number of awards for his work, including the top prize in NAACP-sponsored contests in 1925 (A Colored Grand Army Man) and 1931 (Ouida) and the William E. Harmon Foundation's Alain Locke Prize for portrait painting, also in 1931 (The Old Servant). Despite this modest success, <mask> was largely excluded from the dominantly white artistic circles of the Charleston Renaissance with which his work is today associated. Only writer Julia Peterkin, who won a Pulitzer Prize for her writing about African-American life, appears to have visited Harleston. Although writer DuBose Heyward based a character on him in his novel Mamba's Daughters, it seems they never met in person.Racial prejudice and segregation thwarted several potential commissions and blocked a planned 1926 exhibition of his work at the Charleston Museum that had been organized by museum director Laura Bragg and promoted by the city's mayor, Thomas Porcher Stoney. By 1930, the funeral home business was suffering from the Great Depression. Harleston undertook a series of lectures at black colleges to earn money. In April 1931, <mask>'s father died of pneumonia, and <mask> himself (who is said to have kissed his dying father goodbye) succumbed to the same ailment less than a month later at the age of 49. Legacy
<mask>'s paintings are in the collections of the Gibbes Museum of Art (Charleston), the Avery Research Center for African American History and Culture (Charleston), the Savannah College of Art and Design Museum in Savannah, Georgia, and the California African American Museum. <mask>'s papers are held by the South Carolina Historical Society and Emory University's Stuart A. Rose Manuscript, Archives, and Rare Book Library.References

Further reading
 Ball, Edward. The Sweet Hell Inside: The Rise of an Elite Black Family in the Segregated South. William Morrow, 2001. Botsch, Carol Sears. "<mask> Harleston". University of South Carolina-Aiken. Harleston, <mask>. Painter of an Era, 1882-1931.Detroit: Your Heritage House, 1983. (Catalog with bibliography)
 McDaniel, Maurine Akua. <mask> <mask>, Portrait Painter, 1882–1931. Emory University, 1994. External links
 Stuart A. Rose Manuscript, Archives, and Rare Book Library

1882 births
1931 deaths
Charleston Renaissance
20th-century American painters
American male painters
20th-century African-American painters

masks:
Edwin Augustus Harleston
Louisa Moultrie Harleston
Edwin Gaillard Harleston
Harleston
Harleston
Edwin
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Edwin
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Harleston
Edwin Augustus
Edwin A
Edwin Augustus
Harleston


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<mask> (born Nirmala Nagpal; 22 November 1948 – 3 July 2020) was an Indian dance choreographer in Hindi cinema. She was born in Bombay State (present day Maharashtra), India. She was best known for Dance Form Mujra and the first woman choreographer in Bollywood. With a career spanning over forty years, she choreographed more than 3000 songs. She died on 3 July 2020 of a sudden cardiac arrest. Early life and career
She was born Nirmala Nagpal. Her parents, Kishanchand Sadhu Singh and Noni Singh, migrated to India after partition of India.She started her career as a child artist at the age of three with the film Nazarana as baby Shyama, and was a background dancer in the late 1950s. She learnt dance while working under film choreographer B. Sohanlal, whom she married at the age of 13 while he was 43 years and was already married with 4 children which she did not know at the time of marriage. After having three children (including one that died as an infant), the couple separated; after their separation, she married businessman Sardar Roshan <mask> in 1975 and changed her name after converting to Islam. The couple have one child together: a daughter, Sukaina khan, who is known to run a dance institute in Dubai. Later, she moved to choreography, first as an assistant choreographer and later getting her break as an independent choreographer, with Sadhana Shivdasani's Geeta Mera Naam (1974). However, she had to wait many years to receive acclaim, which came with her work with Sridevi; Hawa Hawai in Mr India (1987), Main Teri Dushman, Dushman Tu Mera in Nagina (1986) and Mere Haathon Mein in Chandni (1989), and later with Madhuri Dixit, starting with the hit "Ek Do Teen" in Tezaab (1988), Tamma Tamma Loge in Thanedaar (1990) and Dhak Dhak Karne Laga in Beta (1992). Thereafter, she went on to become one of the most successful Bollywood choreographers.In 2014, <mask> worked with Madhuri Dixit again in Gulaab Gang. She was on the advisory board of Rishihood University. Television appearances
<mask> <mask> appeared on a reality dance show as a member of the jury in 2005 Nach Baliye, which aired on STAR One along with two other judges. She also appeared in the second season of the same show. She has recently been a judge for the show Ustaadon Ka Ustaad, which is aired on Sony Entertainment Television (India). She appeared on the 2008 show Nachle Ve with <mask> <mask>, which was aired on NDTV Imagine. She choreographed for this show.She appeared on Sony's Boogie Woogie (TV series) show from December 2008 as one of the judges, along with Javed Jaffrey, Naved Jaffrey and Ravi Behl. She was a judge on the third season of a popular show – Jhalak Dikhhla Jaa, which began on 27 February 2009 and was aired on Sony Entertainment Television (India) alongside former Nach Baliye judge Vaibhavi Merchant and actress Juhi Chawla. She was judging the dance reality show Nachle Ve with <mask> <mask>. She has hosted and completed Nachle Ve with <mask> <mask>. In 2012, The <mask> <mask> Story, a documentary produced by PSBT and Films Division of India and directed by Nidhi Tuli was released. She appeared in Taarak Mehta Ka Ooltah Chashmah as a judge in a dance competition. She won three National Film Awards and eight Filmfare Awards, the most recognition of any choreographer.Death
<mask> <mask> was admitted to Guru Nanak Hospital at Bandra, Mumbai on 17 June 2020, because of breathing difficulties, and died of cardiac arrest on 3 July 2020 at the age of 71. Filmfare Best Choreography Award

<mask> <mask> was the first recipient of the filmfare Best Choreography Award. Filmfare instituted this award after watching the excellent choreography and audience response to <mask>'s song "Ek Do Teen" from Tezaab. <mask> <mask> went on to have a hat-trick at the Filmfare awards winning consistently for 3 years from 1989 to 1991. She also held the record for winning the most Filmfare Best Choreographer Awards, winning 8. Controversy
In April 2018, <mask> made statements defending the practice of casting couch, stating that the film industry provides people employment and "doesn't rape and abandon" them. Following an online backlash, she apologised for her comments.See also
 Indian women in dance

References

External links

1948 births
2020 deaths
20th-century Indian dancers
20th-century Indian women artists
21st-century Indian dancers
21st-century Indian women artists
Best Choreography National Film Award winners
Dancers from Maharashtra
Filmfare Awards winners
Indian choreographers
Indian female dancers
Indian film choreographers
Indian women choreographers
Sindhi people
Women artists from Maharashtra

masks:
Saroj Khan
Khan
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Saroj
Khan
Khan
Saroj
Khan
Khan


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is a professional Japanese baseball outfielder and first baseman for the Fukuoka SoftBank Hawks of Nippon Professional Baseball (NPB). He previously played in NPB for the Hanshin Tigers. Early baseball career
A native of Fukuoka, he began playing as a catcher for the Mikuni Honeys in grade school, then went on to join the Futsukaichi Lions in junior high where he got to participate in national tournaments. Upon entering high school, he secured the outfielder post for the Fukuoka Koudai Joto High School. He was elected as team captain in his second year, but his team never made it past the elimination rounds to summer Koshien. He attended the same high school as fellow Tiger's teammate Ryutaro Umeno who was a year ahead, and like Umeno, he started as an outfielder and graduated as a catcher. Professional career

Hanshin Tigers
Nakatani was selected as the Hanshin Tigers' 3rd round pick in the 2010 Nippon Professional Baseball draft.He signed as a catcher on a contract of 50 million yen and an annual salary of 6 million. He was given the jersey number 60. 2011

In 2011, Nakatani played in 23 Western League games (minors) and batted .261 with 4 RBIs. Because he played mostly as an outfielder and not as a catcher, they changed his training regimen from a catcher to an outfielder at the end of the season. 2012

Nakatani spent most of the 2012 season playing in the minors. He was selected to play in the mid-season Fresh All Star Game on July 18, and was selected as the game's MVP when he scored 2 hits and 3 RBIs. On August 23, he debuted in his 1st official game as the starting right fielder in the match against the Chunichi Dragons at the Kurashiki Muscat Stadium.He appeared in 5 more games, but he failed to record a hit in any of them. He finished the season in the minors, with a .225 batting average, 3 home runs and 27 RBIs. 2013

In 2013, the Tigers officially changed Nakatani's position from catcher to outfielder. He spent the entire season in the farm, and batted .201 in 100 games, with 31 RBIs and 2 home runs. 2014

Nakatani also didn't appear in any main squad matches in this year, and batted his worst at .190 in 93 minor league games. His home run count improved to 7. 2015

Nakatani's improved performance in the minors early in the season finally earned him a spot in the main squad in a match against the Hiroshima Toyo Carp on May 8.He recorded his first official hit as a pro on May 9, but when he went hitless in the next matches, he got sent back to the farm on May 15. He continued to perform well in Western League games, and even got selected as the League MVP of the Month in July. In all his 94-game appearances, he recorded an average of .290 with 9 home runs and 40 RBIs, and was named the Western League's MVP of the season. 2016

Nakatani spent the earlier half of the 2016 season in the farm, where new batting coach and Tigers legend Masayuki Kakefu helped him undergo training to improve his batting form. His efforts paid off when he got called to play with the main squad in June. He recorded his first career RBI on June 19, and his first career home run a few days after. His appearances gradually increased until October, mostly as a center fielder or as a pinch hitter, and he finished the season with 14 RBIs, 4 home runs and a batting average of .266 in 64 games.2017

Nakatani had a shaky start early in the 2017 season as he competed with young guns Shun Takayama and Fumihito Haraguchi for regular playing time in the outfield or at first base. His breakout performance started in May when he went on a hitting spree and reached 5 home runs by the 3rd week. He was rewarded by being assigned the clean up spot for the first time in a May 28 match against the Yokohama DeNA BayStars, and continued to be a regular starting player in the next couple of months. He went 5-for-5 against the Saitama Seibu Lions on June 15, and recorded two hits and two RBIs including a two-run home run against Yomiuri on July 9. This earned him the Sanspo Excellent Player Award for his performance during the Sanspo's Hanshin Tigers Gekirei Series (June 13 to July 12). By July 23, he was leading the team in home runs batted in (10 HRs). He continued to hit well, and even hit home runs in 3 consecutive matches against the Tokyo Yakult Swallows on August 22.In a September 18 match against the Hiroshima Toyo Carp at Koshien Stadium, he recorded his 20th home run of the season in the fourth inning against Yusuke Nomura. He became the first Hanshin right-handed hitting lifer (a player who has played with only one team) to reach 20 home runs since Osamu Hamanaka hit 20 in 2006 (Hamanaka was a lifer at the time he recorded twenty home runs). In 133 main squad game appearances, he led the team in RBIs and home runs (61 RBIs, 20 home runs), with 99 hits and an OPS of 0.697. His performance earned him a 12 million pay raise, making an estimated annual salary of 36 million yen for 2018. 2018

<mask> fell into a slump during spring camp in 2018 and batting only .143 during the exhibition games. Nakatanie failed to make it into the main squad when the season started. His slump continued in the farm, (39 games, .197 average, 3 home runs), but when the main squad needed batting reinforcement, he got called to play on May 22.In the 9th inning of a May 26 game against the Yomiuri Giants, with 2 outs and a runner on 2nd, Nakatani notched his 1st career walk off hit at Koshien. From June onwards however, his performance began to deteriorate, and with the improving performance of other outfielders, his starts gradually decreased. He only appeared in a total of 77 games, hit 26 RBIs with only 5 home runs. 2019

Nakatani played in 62 games for Hanshin in 2019, also playing in 43 games for the farm team. In 131 plate appearances, Nakatani posted a tepid .181/.264/.379 slash with 6 home runs and 19 RBI. 2020

In 2020, the season was delayed because of the COVID-19 pandemic. Nakatani spent the majority of the year with Hanshin's main team, logging a .215/.267/.304 batting line with 2 home runs and 16 RBI in 70 games.2021
Nakatani began the 2021 season with Hanshin's farm team after poor performance in the seasons prior. With the farm team, Nakatani posted a .266 average with 5 home runs and 26 RBI. Fukuoka SoftBank Hawks
On July 2, 2021, Nakatani was traded to the Fukuoka SoftBank Hawks in exchange for Akira Niho. References

External links

 Career statistics - NPB.jp
 13 <mask> Nakatani PLAYERS2021 - Fukuoka SoftBank Hawks Official site

1993 births
Living people
People from Ogōri, Fukuoka
Baseball people from Fukuoka Prefecture
Japanese baseball players
Nippon Professional Baseball outfielders
Hanshin Tigers players

masks: Nakatani Masahiro


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<mask> (born 18 November 1977) is an English actress. Early life

<mask> was born in Burnham Thorpe, Norfolk, on 18 November 1977. Her mother is <mask> (née Harvey). Her father, <mask>, is a jazz pianist who accompanied the BBC National Orchestra of Wales when Raison played a showgirl in the Doctor Who episodes "Daleks in Manhattan" and "Evolution of the Daleks". Raison's parents divorced when she was five years old. From a young age she attended five boarding schools, including Gresham's School, Felixstowe College and Stowe School; her education was paid for by her grandfather. It was at Felixstowe College where she developed an interest in acting; she moved there after experiencing bullying at her previous school.She trained at the Webber Douglas Academy of Dramatic Art. Career

Theatre
In 1999, she played the role of June Stanley in the play The Man Who Came to Dinner. In 2000, <mask> played Desdemona in William Shakespeare's Othello at the Theatre Royal, York. From 27 February to 7 April 2001, she performed in the role of Davina in the farce Don't Just Lie There, Say Something! (originally titled Whitehall Farce) at The Mill, Sonning. From 2002–3, she appeared as Ben-Hur's love interest in a minimalist production of the eponymous play at the Battersea Arts Centre. Later in 2003, she was featured in Pains of Youth, again at the Battersea Arts Centre, playing the death obsessed bisexual Desiree; Lyn Gardner of The Guardian described her performance as making "Desiree's death wish seem tragic rather than merely silly."In 2010 she played the title role in Anne Boleyn, a new play by Howard Brenton, who had also been involved in scripts for BBC's Spooks in which Raison went on to appear in 5 series, which premiered at Shakespeare's Globe on 24 July 2010 to high critical acclaim. In the same Shakespeare's Globe season <mask> also played Anne Boleyn in Henry VIII by William Shakespeare. In 2011, she appeared as Ann in the short play "Oliver Lewis" by Jack Thorne, part of the series of plays 66 Books performed at the Bush Theatre. In June/July 2012 she appeared in a production of The Physicists: A Comedy in Two Acts at the Donmar Warehouse, playing the roles of Lina Rose, the lead character's ex-wife, and Monika Settler, the lead's attending nurse. From October 2012 Raison starred in The River, a new play by Jez Butterworth, at the Royal Court Theatre (Jerwood) alongside Dominic West. Tickets became "the most sought-after theatre tickets in London" after rave reviews. In 2013–14 she played Anne Faulkner in the theatrical version of Strangers on a Train at the Gielgud Theatre, produced by Barbara Broccoli.From January to February 2015, she starred opposite Shaun Evans in Hello/Goodbye at the Hampstead Theatre. In August 2015 she joined the Kenneth Branagh Theatre Company in The Winter's Tale and Harlequinade which ran at the Garrick Theatre from October 2015 until January 2016. Raison played the wife of Kenneth Branagh's character in both plays. She stated that she enjoyed the experience and was grateful for the opportunity, given that previously she had a bad audition with Branagh for Macbeth in 2011. She also enjoyed learning from Judi Dench. Film and television
Raison's first film role in 2000 was playing Marianne Faithfull in Suzy Q alongside Carice Van Houten

In 2004, Raison was cast as 'Heather' in Match Point, the first Woody Allen film to be made in London. In 2005, she appeared in Deuce Bigalow: European Gigolo, which she said "may as well have been the most brutal Lars von Trier film.Another actress and I actually spent a whole night just crying." She called the experience "regrettable from start to finish" and a "hideous, hideous moment and a great lapse of judgement on my part". <mask>'s breakthrough role was as Jo Portman (2005–2009) in the BBC One television drama series Spooks (also broadcast under the title MI-5). She requested that the production company let her go in 2009 as she felt that her character could not develop further and wanted to follow up on theatre opportunities. In April 2007 she appeared in the Doctor Who episodes "Daleks in Manhattan" and "Evolution of the Daleks" as Tallulah, a show girl whose opening scene involved singing to a musical number, for which <mask>'s father played the piano background as part of the BBC National Orchestra of Wales. In 2009, she was featured in the show Plus One. She was originally featured in the Comedy Showcase pilot in 2007, where she wore a fat suit.In 2010 after leaving Spooks, she played a model called Abbey in the ITV1 comedy-drama Married Single Other. She had a small role in My Week with Marilyn. She expressed pleasure in being able to work with great British talent and her fascination with Marilyn Monroe. In 2012 she played DI Georgina Dixon in the second series of Vexed, screened on BBC2. In 2013 she played 'Harriet Hammond' in the third series of the BBC legal drama Silk; her character was a practice manager who shook up the firm and a potential love interest for her former Spooks co-star Rupert Penry-Jones' character. In 2014, she had a small role in I Am Soldier, playing "Stella", the lead interrogator in the "Tactical Questioning" portion of the lead character's training. In July 2014 she was announced as a new cast member of Spotless, a (10 × 1 hour episode) drama produced by Canal+.In 2018, <mask> reprised her role as ‘Sylvie’ in 6 episodes of Dark Heart, played xenobiologist ‘Tessia’ in 6 episodes of Nightflyers and appeared in Artemis Fowl. In May 2019 it was announced that <mask> would be joining the main cast of Warrior for the second season. In September 2021 it was announced that <mask> had joined the first season of Sister Boniface Mysteries playing Ruth Penny, a main character across all ten episodes. Other works

In 2005 she appeared in the BBC radio comedy Deep Trouble. She has voiced several video game characters, including Cassandra Pentaghast in the Dragon Age series, Lieutenant Sandra Lansing in Apache: Air Assault and Natasha and other characters in Renegade Ops. BioWare also hired <mask> for providing several voices in Mass Effect: Andromeda. She voiced three characters in The Secret World and lent her voice for Dreamfall Chapters and Blades of Time.<mask> has also voice-acted in several Big Finish Doctor Who audios, including The Davros Mission and The Wreck of the Titan, and plays Constance Clarke, a regular companion to the Sixth Doctor. She also provides additional voices in other Big Finish audio productions, including other Doctor Who stories and The Avengers. In 2013 she joined the CGI series cast of Thomas & Friends and provides the voice of Millie (UK/US), first introduced in King of the Railway. Since July 2017 she has been narrating the BBC2 documentary Hospital. Personal life
She plays golf and is a member of the Aldeburgh Golf Club. While separated from her first husband, Raza Jaffrey, she began a relationship with her Married Single Other co-star Ralf Little in November 2009, which ended in February 2013. She married again in 2017 to Christopher Mollard and had a daughter in that same year.She speaks fluent French and is conversational in Italian and Spanish. Raison is distantly related to Jack Huston. Her cousin, <mask>, was a Chairman of Christie's. Filmography and voice over

References

External links

Living people
1977 births
People educated at Gresham's School
People educated at Stowe School
Alumni of the Webber Douglas Academy of Dramatic Art
Actors from Norfolk
English film actresses
English stage actresses
English television actresses
English video game actresses
English voice actresses
21st-century English actresses

masks:
Miranda Caroline Raison
Miranda Raison
Caroline Raison
Nick Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Raison
Paul Raison