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Wharton Film Studio Promotional Brochure:
Why Santa Cruz...
Has been selected as the location for the studio and production activities of
Wharton Film Classics, Inc.
[The following text is from a booklet issued by Wharton Film Classics, Inc. On the booklet's front
cover, the company advertises "Temporary Offices" at 12 1/2 Pacific Ave., Santa Cruz, Calif.
Although no date of publication is given, activities described in local newspaper articles indicate
that it was probably written around 1927-1928. ]
Announcing its formation, organization and plans of operation for the benefit of the entire
community, so that they may employ for their own benefit, the information contained herein
and at the same time make clear to the public in general, its various plans of operation and
leave to the vision of the reader, the many benefits that can come to him and his community.
For where there is an active motion picture production company in their midst, there must be
reflected a considerable portion of its prosperity and success in the community.
As to the right place and conditions for the production of motion pictures, the fallacy that
picture production can only be carried out successfully in any single community, has long since
been exploded.
The ever-increasing costs of production are due largely to the efforts of large producing
organizations toward confining their activities to one locality. Southern California as a
producing center has long since lost its advantages. That this is so, is proven by the fact that
producing organizations are continually sending their producing units great distances in search
of more suitable backgrounds for their needs.
In the early days of the industry, when out-door pictures were the vogue, as they still are to a
great extent, the consistent climate of the southern part of the state was, of course, preferable
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�to the erratic climate of other sections of the country, and as the fame of Los Angeles was
already being heralded, what was more natural than to seek the sunshine, inasmuch as the
sunshine could not be brought to them? They heard nothing of the wonders of SUPERIOR
CALIFORNIA, nor of the delightful climatic conditions that prevail in Santa Cruz during the
greater part of the year.
This was before the development of the wonderful lighting equipment that now frequently
takes the place of sunlight, making the need of sunshine 365 days in the year not entirely
necessary.
An intensive study of producing conditions in Hollywood has shown that the greater part of the
wonderful production facilities of the motion picture industry in that community have been
either built or imported. These facilities consist chiefly of studios and equipment. There is an
insufficient variety of natural and architectural backgrounds for the needs of the producing
organizations.
This is proven by the fact that 65 per cent of the California made pictures are laid in
backgrounds that are from 300 to 500 miles from the many Hollywood studios. This means that
most of the producing organizations are compelled to transport their companies this great
distance to secure the necessary exterior backgrounds, and later, reproduce in the studios the
interior settings of such architectural structures as may have been used while on such locations.
From two to four days are lost each time such trips are made. The salaries of a large force of
actors, technical staff and extra people must be paid during such lost time. In addition, there is
the cost of transportation of the great amount of equipment and properties necessary for the
use of the company. Much of this is rented by the day at exorbitant rental prices and must be
paid for whether used or not. Every day that is lost adds to the burden of expense.
When the scenes on location have been photographed, the film must be returned to the
studios or laboratories in Hollywood to be developed. The company meanwhile must remain at
location until it is determined whether or not the scenes must be retaken, otherwise an
additional trip might be necessary for that purpose.
This all proves conclusively that efficiency of production can best be maintained by locating
studio facilities in closer proximity to the greatest VARIETY of natural and architectural
backgrounds.
The fact that Southern California producing organizations are compelled to send their
companies to central and northern California points for the purpose of securing these necessary
advantages has convinced Mr. Wharton of the advisability of conducting his own operations in
Superior California, and he has selected Santa Cruz as the most logical location for that
purpose.
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�Scenic Advantages
Within a radius of 125 miles of Santa Cruz can be found the rare scenic beauties of every
character and description that play such an important part in the making of successful motion
pictures.
Every climate may be found, and stories dealing with the wide stretches of the sands of the
Sahara to the deep blue waters of the Mediterranean, or from the South Sea Islands to the
snow-clad peaks of Alaska, as well as metropolitan cities and rock-bound, storm-swept coasts,
may be brought within range of the camera within a few hours' ride of Santa Cruz.
Recent excursions into the country surrounding and contiguous to Santa Cruz, have disclosed
wonderful new scenic locations that have never been screened, and that will prove a revelation
when utilized as backgrounds for photoplays.
Equipment Proposed for Studio
The Wharton Film Classics Studio will be fully equipped in every respect, containing facilities for
no less than four producing units. The latest and most up-to-date lighting and laboratory
equipment and a complete property and costume department will be available for all needs.
The studio will contain interior reproductions of all unusual architectural locations that may be
discovered in the vicinity of Santa Cruz.
The general equipment will include motor-driven 150 k.w. generators, wind machines and
powerful lightings of the sunlight arc type, as well as all other necessary lighting equipment.
Everything will be portable for location purposes, thus obviating the necessity of transporting
such equipment the great distances now necessary. A laboratory will also be a part of the
studio equipment for the purpose of enabling the working companies to "screen their work"
daily.
Service Unit for Use of Other Companies
These facilities will not only greatly reduce costs of production on the pictures to be made by
Wharton Film Classics, Inc., but the same service will be offered for the use of visiting
companies at a price that will enable such companies to take a like advantage of the reduced
expense, and at the same time make a profit for the Wharton Service.
In other words, WHARTON SERVICE STUDIOS will be all that their name implies--SERVICE, for
Wharton companies and for others at a fair price.
Several of the prominent production managers of Hollywood have stated that they would
consider such service "a godsend," as it would relieve them of many burdens that they are at
present compelled to shoulder, regardless of expense.
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�While only the larger production organizations are able to afford these location trips under the
present conditions, our plan will throw open a wonderful field of backgrounds to the many
smaller organizations who have heretofore been limited in their operations and compelled to
produce only such stories as can be filmed in the limited backgrounds now available to them.
All will be able to take a like advantage of the scenic beauties of Superior California.
Possible Advantages to the Community
Immediately there becomes necessary the vast numbers of workers in the profession. It is a
recognized fact that labor follows its hire, and it is also a recognized fact that in every
community there have been discovered individuals whose talent and art was a latent power,
and all that was needed was the development of a means by which that talent might be
expressed or exposed. It is also true that there is an attraction for labor in its various branches
when there is any activity apparent. This activity attracting as it does, the labor that is needed,
is that same activity that has so characterized the various sections of the country, whether it be
the building of a railroad, the opening up of a mining town, or the building of the studios that
have proven to be the magnet by which thousands of talented and gifted people have been
brought together to offer their services in the lines that they were suited to, and there is no
question but what Santa Cruz residents will have the same privilege and enjoy the same
prosperity that other studio centers have enjoyed.
Publicity and Salesmanship
Another drawback to the successful operation of any studio desiring to supply service for other
producers is lack of publicity and salesmanship. This will be well taken care of under the
Wharton plan, as a Hollywood office will be maintained, in charge of an experienced production
manager, who will continually canvas producers who are seeking service, keep them informed
of the facilities available to them, and co-operate in every way to supply their needs, so that
when their companies arrive in Santa Cruz, everything will be ready for immediate operations.
The following interview appeared in The San Francisco Examiner of March 8, 1927:
S. F. SEEN AS A FILM CENTER BY PRODUCER
Leland Stanford Ramsdell Says That City Has
All the Advantages To Be Found in Hollywood
"After two years of successful photoplay production," said Mr. Ramsdell yesterday, "I
am convinced that, if necessary facilities were provided here, the motion picture
producers would not be slow to transfer many of their activities to this section. I am for
San Francisco first, last and all the time."
"Beautiful studios are already available at San Mateo, but a producer finds himself at a
loss for costumes, extras of the proper type, technical workers for the building of
scenery, the kind of lighting apparatus that is required, camera repairers, and a
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�multitude of other details which keep Hollywood the center of the motion picture
industry, because all those facilities are available there and nowhere else."
"When I went into the production of motion pictures my bankers here said I was crazy.
But I have applied business principles to the making of movies, and I have succeeded."
The above is also considered a partial confirmation of Mr. Wharton's statements and claims.
II: THE PRODUCTION PLAN
The great essentials of life are spiritual welfare, food, clothing and shelter. Next in importance
comes entertainment, for without a reasonable amount of the latter, life would be at best, a
drab existence.
There are, of course, many and varied classes of entertainment, and it is safe to say that the
motion picture ranks first as the entertainment of the great majority of the peoples of the
world, who buy their entertainment just as they buy their food.
The demand for this type of entertainment is ever increasing, never diminishing. It is the quality
of the product manufactured that brings the large returns to the producer in any line, whether
it be the farmer, the tailor or the entertainment producer.
It is, therefore, the intent and purpose of Wharton Film Classics, Inc., to concentrate on
entertainment values in their proposed productions.
It is the purpose of this organization to become permanently identified with the motion picture
industry as producers and distributors of motion pictures, but it is not our intention to attempt
to revolutionize motion picture production methods, nor to outrival the spectacular
accomplishments of Griffith or DeMille. We shall merely strive to give the public such
entertainment as close observation has proven without question they prefer, viz: melodrama.
By "the public" we mean the greater proportion of picture-goers. In other words, we intend to
cater to the masses, and not to "the classes." Nothing has ever survived in business or industry
that has catered to an exclusive following. Therefore, it is our intention to make productions
that are certain to be popular with the "rank and file," but, at the same time, be careful always
not to offend more delicate sensibilities.
Owing to the fact that styles in motion pictures are subject to periodical changes, and the type
of story that may be in demand today might possibly be entirely unsuited for production three
months from now, it is not deemed advisable that this organization go on record definitely as to
the stories that are to be filmed during any given period.
While the Wharton Film Classics, Inc., has a number of splendid stories available for production,
they cannot, with any degree of certainty state just which stories are to be produced during the
first year, for the reasons given above.
It can be stated, however, that a minimum of four feature productions will be made during the
first year of production activities, unless it be later determined advisable to produce a serial.
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�This latter course may possibly be followed due to the fact that distributing interests in the
industry have frequently urged Mr. Wharton to produce a high-class serial of the type made
famous by him in the past; it being a matter of record in the industry that the Wharton Serials
are the only pictures of this type that have ever been shown in the "first-run" theatres.
The cost of the feature pictures will range from $25,000 to $50,000 each, and the Serial
$100,000. These estimates include cost of exploitation and allow for delays that might be
caused by illness or weather conditions.
The casts will be chosen from players of recognized merit, whose popularity is on the upward
trend, and who are peculiarly fitted to portray the types depicted in the story that may be
selected for production. The field in which to engage high-class talent is practically unlimited, as
comparatively few stars are now under long-term contracts. In fact, the great majority of them
are engaged for one picture at a time and their services are at the disposal of the highest bidder
offering CASH and IMMEDIATE EMPLOYMENT.
III: RESUME OF MR. WHARTON'S CAREER
THEODORE WHARTON, President of Wharton Film Classics, is a man who, with over seventeen
years of successful experience in the film industry, is recognized as a producer and director of
note and ability, internationally, and whose character and integrity are above reproach. He is
directly responsible for the creation and success of a vast number of Motion Picture Stars who
are numbered among the headliners in the industry.
A recent review of press and other articles from stage and screen periodicals furnishes a record
which reads like the pages of a theatrical blue-book.
Starting his business and professional career in 1890 as treasurer of the Dallas Opera House,
Dallas, Texas, Mr. Wharton rose rapidly in his chosen profession, serving not only in the
business end of the theatrical profession, but also as an actor and stage director. His
engagements included two seasons in the famous Hopkins Stock Company of St. Louis, before
his appearance with E. H. Sothern in the Lyceum Theatre, in New York. Then he appeared in the
Charles Frohman Drury Lane productions, "Sporting Life" and "The White Heather," in the old
Academy of Music, and later with John Drew in "A Marriage of Convenience." He afterward
served with the Augustin Daly Company up to the time of Mr. Daly's death, after which he
became stage manager of "The Great Ruby" during its road tour. He subsequently served in that
capacity with other New York productions. His last two seasons of theatrical life were spent as
manager of the famous Hanlon Brothers "Superba" Company, and as acting treasurer of
Hammerstein's Victoria Theatre in New York.
Inspiration to Enter Moving Picture Industry
In 1907 numerous visits to the old Edison Studios in New York aroused Mr. Wharton's interest
in motion pictures. His unusual background of theatrical experience, both as an actor and
manager, created a wide demand for his services. He was offered and accepted a position as
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�technical director of the Edison Studios. In 1909 he was engaged by the Kalem Company to
establish their studio, and the following year he established the Pathe American Studio,
remaining with that company for two years. Later he became identified with the Essanay
Company at Chicago. During this period Mr. Wharton wrote and directed more than five
hundred screen plays.
Producer by Government Authority
During the fall of 1912, Mr. Wharton was commissioned to reproduce "The Late Indian Wars"
by authority of the United States Government. This production was the first seven-reel feature
made in America. It was produced on the original battlefields of South Dakota, Montana,
Wyoming and Oklahoma, more than five thousand Indians and soldiers taking part, as well as
such historical celebrities as Generals Nelson A. Miles, Baldwin, Maus and Lee; also Col. Sickel
and Wm. F. Cody ("Buffalo Bill"); also General Charles King, famous as the author of Indian
stories, who prepared the scenario. Prints of this production were the first to be placed in the
archives of the War Department, where they now exist as a permanent record of "The Wars for
Civilization in America."
Establishes Studio at Ithaca, N. Y.
In 1914, Theodore Wharton joined his brother, Leopold, and they established "The Whartons,
Incorporated" at Ithaca, N. Y., and entered the producing field under their own banner. "The
Whartons" were the first directors to establish their own studios as independent producers.
Their efforts were successful from the start, and many noteworthy productions were made by
them. Many of the productions made in the Ithaca Studios are spoken of as among the most
successful, from both a financial and artistic standpoint, in the history of pictures.
Famous Stars Directed by Mr. Wharton
Among the famous stars whose early film experience was gained under the personal direction
of Theodore Wharton are included:
Francis X. Bushman
Lionel Barrymore
Bryant Washburn
Henry Walthall
King Baggott
Allan Holubar
Jack Pickford
Arnold Daly
Max Figman
Creighton Hale
Harry Fox
Milton Sills
Frank Brownlee
Beverly Bayne
Olive Thomas
Irene Castle
Pearl White
Dolores Cassanelli
Dorothy Phillips
Jean Southern
Ruth Stonehouse
Marguerite Snow
Lolita Robertson
Grace Darling
Gladys Hulette
Doris Kenyon
Warner Oland
Hamilton Reville
Richard Barthelmess
Edgar Davenport
Burr MacIntosh
Edwin Arden
Johnny Hines
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�Some of His Screen Successes
Some of the more notable feature productions made by Theodore Wharton include:
"Dear Old Girl" (Bushman and Bayne)
"Dad's Boy" (Henry Walthall)
"A Brother's Loyalty" (Bushman and Bayne)
"The Hermit of Lonely Gulch" (Bushman and
Bayne)
"Two Men and a Girl" (Bushman, Washburn,
Cassanelli)
"Sunshine" (Ruth Stonehouse)
"The Eye That Never Sleeps" (Bushman)
"Napatia, the Greek Singer" (Dolores Cassanelli)
"Out of the Night" (Bushman)
"The Swag of Destiny" (Dorothy Phillips)
"Lost Years" (Bushman)
"The Great White Trail" (Doris Kenyon)
"The Virtue of Rags" (Bushman)
"The Boundary Ride" (All Star)
"The Turning Point" (Bushman and
Washburn)
"A Prince of India" (All Star)
"Waiting" (Henry Walthall)
"The Black Stork" (All Star)
All of the above were original stories by Mr. Wharton.
Mr. Wharton also produced and directed the following well-known stage successes in pictures:
"Hazel Kirke" (featuring Pearl White)
"The City" (All Star)
"The Lottery Man" (All Star)
The following famous serials were produced and co-directed by The Whartons:
"Exploits of Elaine"--36 episodes (featuring Pearl White, Lionel Barrymore and Arnold
Daly).
"Patria"--15 episodes (featuring Irene Castle, Milton Sills and Warner Oland).
"Mysteries of Myra"--15 episodes (featuring Jean Southern).
"Get Rich Quick Wallingford"--15 episodes (featuring Burr MacIntosh and Max Figman).
"Beatrice Fairfax"--15 episodes (featuring Grace Darling and Harry Fox).
"The Eagle's Eye"--20 episodes (featuring King Baggott and Marguerite Snow).
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�Opinions of the Public Press
A few of the hundreds of press comments of Theodore Wharton's productions:
"THE CITY"
Wids: "It is a smooth-running, well-told human story that will carry conviction and
register in a human manner with any audience in the smallest town or largest city, and
proves that Theodore Wharton knows the importance of early impression made by the
characters."
Moving Picture World: "'The City' is a picture that will appeal to those who delight in
dwelling on the wickedness of New York, because it will work them up to an intense
point of excitement, not only once, but many times. It leaves a great deal to the
imagination and consequently is a picture that will stick in the memory. The photo
drama is staged admirably."
"THE LOTTERY MAN"
Wids: "Making a five-reel comedy which will hold all the way is a difficult task. In this
offering we get a different idea smoothly worked out, with a lot of good laughs, and just
enough of the dramatic touch here and there to make it hold together nicely. It is a
comedy drama played by a nicely balanced cast and it is clean.
"I want to comment particularly on the football scenes, since I believe it is better
handled than any football stuff I have ever seen incorporated in a screen story."
"THE WARS FOR CIVILIZATION"
Washington Post: "The pictures shown brought before the audience such stirring scenes
that the intense interest of every person was held from first to last. Many of the scenes
are beautiful, many are inspiring, others impress through the terrible realism they show.
All defy a detailed description, but the verdict of the audience, who sat spellbound for
two hours, may be indicated by the remark of Brigadier General Hall, a veteran of the
Custer and many Indian campaigns:
"'Nelson, I did not think it could be done,' he said, clasping the hand of General Nelson
A. Miles. 'I did not think until I saw these pictures that it would be possible to reproduce
what we went through.'
"One complete set of reels will be preserved in the archives of the War Department as a
record of the frontier campaigns. A record such as never before was taken of a similar
set of scenes."
"DEAR OLD GIRL"
Moving Picture World: "Director Wharton has produced a splendid story. It pulls the
heartstrings all the way, at times uncomfortably hard. Although throughout the greater
part of the picture everything is gay and happy, there is a feeling of impending tragedy.
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�It is inescapable. That this is so is a tribute to the builder. Inquest clubs in search of
material for a discussion on the 'psychology of the punch' will find an abundance in this
picture.
'Francis Bushman never had a better medium for showing what he can do, and he never
had better support or better direction. 'Dear Old Girl' is a rare picture--don't miss it."
"THE GREAT WHITE TRAIL"
New York Clipper: "Worthy of the reputation of Theodore Wharton as a producer of
exceptional pictures. A picture of highest quality."
"A BROTHER'S LOYALTY"
Motography: "Unlimited praise is due to Director Wharton, who is responsible for this
production and whose careful timing of the scenes and a skillful stage direction enabled
Francis X. Bushman to make so much of the dual role he enacts. The writer has seen
more than one of the featured dual role dramas, but is quite sure that in naturalness of
action, absolute accuracy of timing and skillfulness of business, he has never witnessed
anything superior to this."
"THE EAGLE'S EYE"
Exhibitor's Trade Review: "It fairly bristles with unexpected happenings. New thrills are
awakened every instant. One of the great successes of the year."
New York Morning Telegraph: "Bound to win nation-wide approbation. Exhibitors could
not show a more effective drawing card."
Exhibitor's Herald: "Staggering in its import, supreme in suspense, magnificently
handled."
Billboard: "It is the first time this reviewer has heard applause from blase critics at a
private showing of any motion picture. It will create a positive sensation. Held everyone
breathless. For pep-giving, excellent photograph and direction, 'The Eagle's Eye' starts a
new era in the silent drama."
Dramatic Mirror: "'The Eagle's Eye' is more than a fine picture. It is a great picture and
any manager that shows it is doing his patrons a service."
New York Herald: "Amazing detail. Vastly interesting."
New York Clipper: "One of the best serials ever produced. Box office value--full run
everywhere."
Among those associated with Mr. Wharton in this new enterprise are Michael J. Leonard, of
Santa Cruz, California, Secretary, and Mrs. Helene Card, of Santa Cruz, California, Treasurer,
both of whom are well known and bear enviable reputations.
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�Mr. Wharton's reception by the business men of Santa Cruz is a tribute to the farsightedness of
the Wharton Film Classics, and an appreciation of what can be accomplished when a man of
character and integrity presents such a proposition of merit, with the substantial Board of
Directors that go to make up the Wharton Film Classics, and where with a well-planned
program, definitely worked out can be carried to a successful conclusion.
Many great opportunities are overlooked through failure to appreciate the importance of a
project, or when too little attention is paid to the possibilities of a proposition. It is a
conservative statement that the advent of the Wharton Film Classics in this territory has only
been slightly touched upon. For when one has a thorough understanding of this plan, he cannot
help but feel that the profit possibilities to every business and industry in the community are
unlimited by virtue of the fact that the success of any undertaking is reflected in the general
condition of the community, so with our success in the City of Santa Cruz and its surrounding
country will come the success to other allied lines.
IV: A Word to the People of Santa Cruz County
In this great nation of ours, teeming with its millions of souls, there is a large percentage who
have accumulated a sufficiency of wealth, and are now seeking the ideal playground and
climate. California is generally known through the East and Middle West as Los Angeles or
Hollywood, and it is quite natural for all those coming west with money to spend in return for
climate and comfort, that unless they have been personally directed by some friend living in
other beautiful parts of the state, they will head for and settle within or near the boundaries of
Los Angeles.
Los Angeles and Hollywood, the latter by reason of the moving picture industries, are the two
best advertised cities in the world. Their always active Chambers of Commerce and various
booster organizations have taken care of that, with the valuable aid given by the motion picture
industry.
Santa Cruz is off the beaten path, and if you are to divert the stream of travel, it will be
necessary to call attention to this city through the various mediums that are offered. Let the
world know of your hidden paradise, which it can properly be termed.
What more fitting medium can be used for that purpose than an active motion picture studio
and organization in the community?
Santa Cruz has everything desirable and beautiful in nature to offer all who now turn aside and
come into your empire. What single locality in all California has been more kindly endowed with
the beauties of nature combined with climatic ideality, where the great Pacific kisses and
caresses beautiful, verdant mountain slopes, bathed in sunshine and clothed with magnificent
redwood trees.
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�Much more could be said in truth and still justice could not be done. If Los Angeles had the
beautiful Santa Cruz Mountains instead of the barren Tehachapis, they would throw a stone
wall around the entire group and charge admission.
The advent of Wharton Film Classics, Inc., into Santa Cruz, and the opportunity offered for the
advancement and general welfare of the entire community through their proposed activities
will be of everlasting benefit to every person in the community.
The City of Santa Cruz offers wonderful possibilities for development and there is no one
industry that will benefit the city more than a Motion Picture Production Company. For with its
many needs, most of which can be met by the man-power of the city that is available, and the
talent that will be developed through close association and training, who can say but what
there will be an influence for good felt, as has been the case in every other locality where the
film industry thrives?
The people of Santa Cruz are alive to the needs of their community and will welcome the
Wharton Film Classics, Inc. Every effort should be made to encourage that which will benefit
the community and make of Santa Cruz a City of Progress and Activity.
The Wharton Film Classics, Inc., is a corporation organized under the laws of the State of
California, with a capitalization of One Million Dollars, consisting of one million shares of stock,
par value, one dollar.
We wish to announce to the public in general the establishment of temporary offices at 12
1/2 Pacific Avenue, Santa Cruz, California, where every attention will be paid to the curious or
those who may be interested in our plan of operation, or those who may be searching for
information of whatever nature, that we may be able to give.
It is the library’s intent to provide accurate information, however, it is not possible for the library
to completely verify the accuracy of all information. If you believe that factual statements in a
local history article are incorrect and can provide documentation, please contact the library.
12
�
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Santa Cruz History Articles
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AR-209
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Wharton Film Studio Promotional Brochure: Why Santa Cruz…
Subject
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Wharton Film Classics, Inc.
Movies
Wharton, Theodore
Creator
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Wharton Film Classics, Inc.
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Santa Cruz, CA: Wharton Film Classics, Inc., [1927-1928]
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Santa Cruz Public Libraries
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1927-1928
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Santa Cruz (City)
1920s
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En
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ARTICLE
Arts and Entertainment
Business