Cornelis Pieter Vlieland 1928

son of Cornelis Pieter Vlieland

and Elizabeth Maria Arnold

First we have  Cornelis Pieter Vlieland born in 1853

his son is Cornelis Pieter Vlieland born in 1886 

and we have a Cornelis Pieter Vlieland born in 1928

We read on the back that he was born in Holland ,went to South Africa and now lives in England.
And yes he was already in the blog this C.P.Vlieland junior

and here more about Cornelis Pieter Vlieland senior and also of E.M.Arnold .

Cornelis Pieter Vlieland 1853

Overledene/deceased
Cornelis Pieter Vlieland (winkelier/shopkeeper,fishmonger ,merchant.) leeftijd 43 jaar, born geboren 28-05-1853 te Leiden, te Leiden, wonende te Leiden, overleden op 16-09-1896 te Leiden.
Echtgenoot/husband van Margaretha van der Voet
Weduwnaar/widower van Anna Clara Lijbering

 

Anna Clara Lijbering, geliefde Echtgenoote van C.P. Vlieland komt op 14 oktober 1892 te overlijden. De familie was daarvoor al diep getroffen door het overlijden van hun jongste kind en hun broer Cornelis Jacobus Lijbering op de jeugdige leeftijd van 26 jaren.

Anna Clara Lijbering, beloved Wife of C.P. Vlieland died on October 14, 1892. The family was already deeply affected by the death of their youngest child and their brother Cornelis Jacobus Lijbering at the young age of 26 years.

Father of C.P Vlieland isTheodorus Ferdinand Vlieland
his mother Wilhelmina van Romburgh

Conscription, sometimes called the draft, is the compulsory enlistment of people in a national service, most often a military service and that happened to our Cornelis Pieter Vlieland .

Toegang nummer: 0516
Toegang naam: Inventaris Stadsarchief Leiden 1816-1929
Bron: Militie register
Soort registratie: Militieregisters
(Akte)datum: 1873
Plaats: Leiden

Bijzonderheden:
Advies mc + vrijgesteld: vrijgesteld; zwak gezicht, gebrek nr. 194 He did not have to go in the army because of a weak vision.

Vader /father Theodorus Ferdinand Vlieland
Loteling Cornelis Pieter Vlieland (koopman) geboren 28-05-1853 te Leiden, wonende te Leiden
 
What did he look like
Diversen: Gezicht/face :oval ovaal 

Voorhoofd/stern: hoog/high

eyes Ogen: blauw /blue

Neus/nose : gewoon/normal

Mond/mouth: gewoon/normal 

Kin/chin : rond/round 

Wenkbrauwen/eyebrows : bruin/brown 

Haar/Hair : brown 

Lengte/length: 1.684 mtr.

 First we have this  Cornelis Pieter Vlieland born in 1853
his son is Cornelis Pieter Vlieland born in 1886 

and we have a Cornelis Pieter Vlieland born in 1928

Helena Jacoba Maria van Randwijk

Today we start with E.M.Arnold.Wife of C.P.Vlieland.

her father was John Samuel Arnold born geboren op 6 april 1853 te Delft and married to Helena Jacoba Maria van Rantwijk

His father was George Edward Arnold born in Amsterdam and grocer by profession he married Elisabet Rouw


Helena Jacoba Maria van Randwijk, born on January 23, 1861 in Voorburg

marriage John Samuel Arnold 

Death

Groom

John Samuel Arnold, 31 years old, sergeant majoor bij het vierde regiment infanterie by profession

Bride

Helena Jacoba Maria van Rantwijk, 23 years old, no profession

Father of bride

Hermanus Nicolaas van Rantwijk, adjunct administrator bij de Zeebad Inrichting by profession

Mother of bride

Maria Koens, no profession

Father of groom

George Edward Arnold, no profession

Mother of groom

Elisabeth Rouw, no profession

Witnesses

Frederik Alexander Arnold, 41 years old, schrijver ( Writer) by profession

Gurrens Bernardus Meere, 57 years old, no profession

Willem Frederik Mooij, 42 years old, schrijver (writer ) by profession

Johannes Coenraad Koens, 61 years old, kastelein (landlord) by profession

family tree

Vlieland and liqueur

Bij akte, 25 Juli 1892 voor mr. J. A. F. Coebergh, notaris te Leiden, verleden, is de vennootschap, opgericht bij akte, 19 Juli 1887, voor genoemden notaris Coebergh, verleden, tusschen de heeren Cornelis Pieter Vlieland en Johan Louis Boekwijt , ten onderwerp hebbende de distilleerderij en het fabriceeren van likeuren en gedistilleerd , den handel in die artikelen en in wijn , alsmede in minerale wateren en gazeuse dranken, onder de firma J. L. Boekwijt en C°., gevestigd te Leiden, ontbonden, te rekenen van af 25 Juli 1892, zijnde bij die akte al de goederen en vorderingen aan den heer Vlieland toegescheiden. (2173)


By deed, July 25, 1892 for JAF Coebergh, notary in Leiden, past, the company, established by deed, July 19, 1887, for aforementioned notary Coebergh, past, between Mr. Cornelis Pieter Vlieland and Johan Louis Boekwijt, is the subject having the distillery and the manufacture of liqueurs and spirits, the trade in those articles and in wine, as well as in mineral waters and aerated drinks, under the firm of JL Boekwijt and C °., established in Leiden, dissolved from July 25 1892, being all the goods and claims attributed to Mr. Vlieland by that deed. (2173)

The widow of Johan Louis Boekwijt was Margaretha Elisabeth Lijbering born 15-06-1865 te Amsterdam

marriage certificate of Johan Louis Boekwijt and Margaretha Elisabeth Lijbering in Leiden

She was the sister of Anna Clara Lijbering ,wife of Cornelis Pieter Vlieland. 

The parents of Anna and Margaretha were Klaas Lijbering and Maria Anna Both.

Anna Clara Lijbering, geliefde Echtgenoote van C.P. Vlieland komt op 14 oktober 1892 te overlijden. De familie was daarvoor al diep getroffen door het overlijden van hun jongste kind en hun broer Cornelis Jacobus Lijbering op de jeugdige leeftijd van 26 jaren.

Anna Clara Lijbering, beloved Wife of C.P. Vlieland died on October 14, 1892. The family was already deeply affected by the death of their youngest child and their brother Cornelis Jacobus Lijbering at the young age of 26 years.

In 1892 Anna Clara Lijbering October 14 and Johan Louis Boekwijt died May 14 1893 .

Who is who in the Vlieland tree

Looking for a new episode in the blog we found the Who is Who in Charles Dickens by the author C.P.Vlieland.
Curious we googled more,  and found another book by the same author .

We read on the back that he was born in Holland ,went to South Africa and now lives in England.
And yes he was already in the blog this C.P.Vlieland junior

and here more about Cornelis Pieter Vlieland senior and also of E.M.Arnold .

Cornelis Pieter Vlieland back to England

Cornelis Pieter Vlieland
 family tree of Cornelis Pieter Vlieland

Alexander Monfries

Blanche Carpenter

Census 1901

Name: B Carpenter
Event Type: Census
Event Date: 1881
Event Place: St Margaret And St John The Evangelist Westminster, London,Middlesex, England
Registration District: St George Hanover Square
Residence Note: Grosvenor Road
Gender: Female
Age: 28
Marital Status (Original): Single
Occupation: Bookkeeper (Clk)
Relationship to Head of Household: Niece
Birth Year (Estimated): 1853
Birthplace: Exeter, Devon, England
Page Number: 62
England and Wales Census, 1881
A Chamberlain
Head
F
43
Broadclyst, Devon, England
M Bradford
F
42
Upton Pyne, Devon, England
M Chamberlain
Visitor
F
50
Broadclyst, Devon, England
B Carpenter
Niece
F
28
Exeter, Devon, England

M Carpenter
Niece
F
19
Exeter, Devon, England

B Carpenter
Niece
F
17
Exeter, Devon, England

J Hollaway
Visitor
F
64
London, London, Middlesex, England


G Reed
Porter
M
20
St James, Middlesex, England


John Carpenter
Head
Male
86
Teignmouth, Devonshire
Maud Carpenter
Daughter
Female
37
Exeter, Devonshire
Blanche Carpenter
Daughter
Female
35
Exeter, Devonshire

Lennox Hoare
BoarderMale

30
Hyde Park, London
\

Evelyn Hoare
Boarder
Female
34
Birkenhead, Cheshire
Dorothy Hoare
Boarder
Female
3
Clystst George, Devonshire

Amelia Watts
Boarder
Female
21
Sidbury, Devonshire

Isabella Carpenter

Name: Isabella Carpenter
Event Type: Census
Event Date: 1871
Event Place: Holy Trinity, Weymouth, Dorset, England, United Kingdom
Sub-District: St Sidwell
Enumeration District: 17
Gender: Female
Age: 20
Marital Status: Unknown
Relationship to Head of Household: Daughter
Birth Year (Estimated): 1851
Birthplace: Exeter, Devonshire


John Carpenter
Head
M
55
Teignmouth, Devonshire

Susan Carpenter
Wife
F
50
Broadclyst, Devonshire


Arthur Carpenter
Son
M
18
Exeter, Devonshire


Isabella Carpenter
Daughter
F
20
Exeter, Devonshire


Maude Carpenter
Daughter
F
11
Exeter, Devonshire


Blanche Carpenter
Daughter
F
9
Exeter, Devonshire


Eva Carpenter
Daughter
F
7
Exeter, Devonshire


census 1891
Name: Bella Carpenter
Event Type: Census
Event Date: 1891
County: London
Parish: Battersea
Ecclesiastical Parish: ST MARY
Registration District: Wandsworth
Gender: Female
Age: 39
Marital Status: Single
Occupation: Accountant
Relationship to Head of Household: Niece
Birth Year (Estimated): 1852
Birthplace: Exeter, Devonshire, England


Mary Chamberlain
Head
F
42
Devonshire, Broad Clyst

Bella Carpenter
Niece
F
39
Exeter, Devonshire, England

Maud Carpenter 

Niece
F
25
Exeter, London, England

Name:John CarpenterSpouse's Name:Sally ChamberlainEvent Date:21 Nov 1848Event Place:Broad Clyst,Devon,England

Broadclyst burns, 27 April 1870

Broadclyst burns, 27 April 1870

In John Marius Wilson’s Imperial Gazeteer of England and Wales, published between 1870 and 1872, Broad Clist (in the old spelling of the village name) ‘stands on the river Clist, [with] a station on the railway, a post office under Exeter and fairs on the first Monday of April and September’. The fair on 4 April 1870 took place, but three weeks later, on Wednesday 27 April, 63 of the 80 houses in the village were destroyed in less than an hour (our earlier post giving the date of the fire as 1871 was incorrect, and James Lawrie Monfries was still alive at this time, as we now know from his attendance at Martha Carnall’s wedding in May 1869). The Exeter Flying Post’s account describes ‘charred and blackened ruins which [the day before] were ... homes of peace, prosperity and happiness’.


The fire took hold around 1 o’clock in the afternoon, in the stables behind the Red Lion public house: a spark of burning soot from the pub chimney fell into the hay loft and set it on fire. The semicircle of thatched cottages around the pub in the village square were destroyed in ten minutes: as the press account says, ‘[they were] built to burn’. The fire then spread along the Exeter road, where the small traders and mechanics had their homes: a builder, the police sergeant, a carpenter, a ‘gentleman’s servant’ (perhaps at Killerton) and a shoemaker. A baker, saddler and stonemason were also burned out, and a boot/shoemaker, plumber/glazier and a second stonemason lost their homes on the Whimple road. Place Barton farm, in the centre of the village, with its cattle, pigs, poultry and stocks of barley ‘burned with a fury’. The four fire engines were hampered by a high wind, a lack of water and the intense heat, that melted the lead pipes through which it flowed. Seven cottages on the left-hand side of the square housed the village grocer and a second baker, the postmaster and the schoolmistress: they were owned by Henry Austin, the ‘relieving officer’ responsible for the workhouse and indigent in the village. He had ‘neglected to pay [his insurance] premium ... and ... now lost [his own home and] everything he possessed’.


The total cost of the damage to property was at least £10,000 (over £1 million today) and the loss fell personally on Sir Thomas Acland of Killerton, from whom most of the villagers rented their homes; the smallest tradesmen saw total losses of almost £2,000, and few of them were fully insured. Amazingly, no one was seriously injured, and the homeless found shelter with Lord Poltimore at West Clist, Colonel Acland at Killerton, the reverend Hart Davis in the Broadclyst rectory, the New Inn on the Whimple road, the sixteenth-century but stone-built and slate-roofed Prior’s Court and many other farmers’ cottages outside the village: ‘by nightfall there was not a single person who was unprovided with shelter’.


Among those offering a roof were a ‘Mr J. Chamberlain (builder)’, and here we come to the complicated relationship between our Chamberlain family and the fire. The ‘John Chamberlain, builder and family’ in the Exeter road, whose workshop and uninsured stock and tools worth over £200 were lost, is almost certainly Charlotte’s father, aged 74* but still apparently working as a craftsman, since a staircase worth £40 he had made for a new rectory in Bramford Speke was destroyed. His eldest son, born in 1826, was also John, but the Broadclyst Parish Register lists him as dying in May 1860, aged 34. His second son, James, born in 1828 and so 42 in 1870, seems to have prospered as both builder and farmer; in the 1881 census he was living at Kennicotts, a handsome now Grade II listed stone farmhouse which had a thatched roof and was near the Red Lion but seems to have survived unscathed; if he was not living there in 1870 he was clearly in a position to offer shelter to the dispossessed (in the 1881 Kelly’s Directory he is in both the ‘private resident’ and ‘commercial’ lists). We don’t know if the village butcher, Abraham Chamberlain, who had his ‘back premises burnt’ although his house was saved is a relation, nor the ‘Mrs Chamberlain, a widow’, who lived in the Exeter road.


* The 1841 census has John aged 45 and so born in 1796, but the 1851 census has him aged 60, so born in 1791; the 1871 census has him aged 84, which is almost certainly an error, but it also has him as ‘retired builder’ which may mean that quite apart from his age he and his business never recovered from the fire’s losses; also, he by then had Martha and Thomas Carnall living with him, and the infant John to help to raise.


Thanks are due to Kelly’s Directory, the Imperial Gazeteer and the Exeter Flying Post for its account, ‘Conflagration at Broadclyst’ of 4 May 1870, from which some details in this post are taken. Also Devon Heritage, for the Broadclyst Parish Register, burials 1857–1861 data.
and to Barbara !

The Bitter Mead and the Raddlecot Marsh

The Bitter Mead and the Raddlecot Marsh: Carnalls and Chamberlains in the Acland lands

These evocative names for pasture and meadow land, dating back to the Domesday Book, are linked to several members of our story – Martha Chamberlain in Broadclyst, Charlotte Monfries in Caerphilly, and now John and Thomas Carnall in Silverton.

Little and Great Bitter Mead, along with Pretty Mead and Colly Marsh, were the names of land-plots in the Outer Yard estate of Sir Thomas Dyke Acland, who paid a tithe (one-tenth of the land value) to support the local church and clergy.* The tithing hamlet for the estate was Silverton, a village 5 miles north of Broadclyst, where John Carnall (b. 1819) and his son Thomas (b. 1845/1846) were born.

The medieval open fields around both Broadclyst and Silverton had by the 1840s become fragmented into plots of a few acres or even less, which were farmed as arable land or left fallow as pasture. John Carnall, who lived to be one of the oldest tenants on the estate, farmed mainly arable land, with an orchard and some pasture – although ‘Bitter Mead’, ‘Colly Marsh’ and ‘Waterleat’ (where the stream from the Silverton mill passed across his land) do not sound very productive. He had also a smaller plot called ‘Alders’, next-door to Colly Marsh, where the alder wood needed to build farm sluice gates and water pipes was abundant (the wetter the ground, the stronger the tree becomes) and some holdings on land owned by the Earl of Egremont, Lord of the Manor of Silverton until his death in 1845.

Thomas farmed the Acland lands around Broadclyst, in the lost medieval settlement of Luzwell Brookhill & Stiles and also at Higher Newland, with arable, meadow and pasture. He also had holdings in East and West Raddlecot Marsh, some furze and coppice, underwood and brake land – land once fertile but through neglect become thistle and bramble unfit for cultivation. ‘Newland’ also implies that it may have been land of lesser quality ‘taken in’ or ‘enclosed’ in the 1830s, when several additions to local acreage took place.

John Carnall and his wife Sarah (b. 1810 in Bradninch, 3 miles east of Silverton) had an elder son, Abraham (b. 1844), so their marriage must have been in the early 1840s, when Sarah was in her early 30s (unless she was a widow when she married or there are earlier infant deaths). Thomas married Martha Chamberlain (Charlotte’s fourth sister, b. 1832), on 15 May 1869, at St Martin’s Church in Caerphilly, with Charlotte and James Laurie Monfries among the witnesses. Their first child, John Laurie J[?ames] Chamberlain Carnall, was born in Silverton in 1870, but was living with Martha, Thomas, and Thomas’ parents-in-law in Broadclyst at the 1871 census. John Chamberlain was also an Acland tenant, leasing his cottage, garden, some arable land in Little Gedisfield and a heath plot from Sir Thomas; we cannot locate the former on an estate map so it may also have been a derelict settlement still keeping its name but having lost all its dwellings.

Thomas became a prosperous farmer, and by 1891 an estate bailiff; he made his home with his three children (John, Sydney George, b. 1873 and Emma, b. 1874), in South Molton, on the edge of Exmoor, first at 8 North Street and then at Little Bray House in Charles, a hamlet outside the town, also Acland lands.

*The Tithe Apportionment records show what tithe payment was due, listed by parish, landowner, estate, plot name and type of cultivation: after the Reformation, when many lands were no longer held by the church and passed into the hands of private landowners, the requirement to pay the tithe was inherited with the land. The Commutation Act of 1836 made it possible to pay the tithe in cash rather than in farm produce, as had been the previous requirement, and tithe maps were drawn up in the 1840s to show what payments were due. The 1881 Kelly’s Directory gives the Acland tithe payment as £495, some £60,00 today.

Thanks are due again to Kelly’s Directory, Graham Parnell for details on the Carnall family and John Ayshford, a Carnall descendant, for permission to post on his family’s history. and to BARBARA

bedpan or " nachtspiegel" van de Koninklijke Paketvaart Maatschappij

After a side step to Dr.Frejos ,we are back  where we started ,to our inspiration, the wash stand.
Inside on the bottom there are two bedpans ,as there was no toilet in your cabin.
these bedpans have the name K.P.M. in front.

They were orderded for the Koninklijke Paketvaart Maatschappij by the earthernware 

factory of Petrus Regout in Maastricht.A wellknown factory .

The mark on the bottom was used until 1928.

All  the earthenware and glass were marked K.P.M.

Who is Dr.Fejos

Curious by now who Dr Fejos is and what happened ,after he was taken by "de Klerk" being very ill at that time,we searched for films in 1937 and found the picture The Komodo Dragon (Draken på Komodo). It was filmed on Komodo and Dr.Fejos was the filmdirector
We found many articles about this versatile man. And we will use This piece on Wikipedia so you can meet him as well .....although there is lots and lots of information in it , the story of "de Klerk " is not to be found.

He was not Danish or Swedish as I imagined from the filmexpedition, but he was Hungarian.

Pál Fejös, commonly known by Paul Fejos (January 27, 1897 – April 23, 1963), was a Hungarian-born director of feature films and documentaries who worked in a number of countries including the United States. He also studied medicine in his youth and became a prominent anthropologist later in life. During World War I, Fejos worked as a medical orderly for the Imperial Austrian Army on the Italian front lines and also managed a theatre that performed for troops. After the war, he returned to Budapest and eventually worked for the Orient-Film production company. He began to direct films in 1919 or 1920 for Mobil Studios in Hungary until he escaped in 1923 to flee the White Terror and the Horthy regime. He made his way to New York City and then eventually to Hollywood where he started production on his first American feature film, The Last Moment, in October 1927.[1] As a major hit, the film allowed him to sign with Universal Studios. After a number of other successful films, Fejos left America in 1931 to direct sound films in France. In 1941 he stopped making films all together and became the Director of Research and the acting head of the Viking Fund.[2]

1897–1918: Early life

Fejos was born in Budapest, Hungary, as Pál Fejős to parents Desiré Fejős and his wife Aurora, née Novelly. He had one older sister, Olga Fejős. Like many film directors, Fejos exaggerated or invented myths for large portions of his life story and according to him his father was a captain with the Hussars and his mother was a Lady-in-waiting for the Austrian-Hungarian Empress, and that as a youth Fejos himself was an official of the Imperial Court. The truth was that his mother's family originated from Italy but did have an aristocratic background and his father was a pharmacist in Dunaföldvár. Shortly before Fejos was born his father sold his business and moved the family to Budapest in order to buy a shop there, but died of a heart attack before the new shop was purchased. He was then raised by his mother in his grandparents' home. As a boy he was said to be a smart student and to have loved films from an early age. He was sent to a school run by Piarist Fathers in Veszprém and later to a school in Kecskemét.[3] He eventually studied medicine and in 1921 he received an M.D. from the Royal Hungarian Medical University of Budapest.[4] In 1914 he married his first wife Mara Jankowsky. World War I started soon afterward and Fejos worked as a medical orderly for the Imperial Austrian Army on the Italian front lines. During the war he also managed a theatre that performed for the troops. Some additional myths about Fejos' life that surfaced a year later include that he was an officer in the Hussars, was wounded three times and that he was the first person to pilot a combat airplane in the entire war. After the war Fejos returned to Budapest and began working as a set painter for an opera company and eventually for the Orient-Film production company. He was divorced from his first wife in 1921, allegedly because of his irrational jealousy.[3]

1919–1926: Early film career

Fejos first began directing films in either 1919 or 1920 for Mobil Studios in Hungary. His earliest silent films included Pán, a fantasy based on the mythological character, Lord Arthur Savile's Crime, based on a play by Oscar Wilde, The Black Captain, a film about police corruption in New York City, The Last of Asène Lupin, a remake of the popular American serial film, and The Queen of Spades, based on the novel by Alexander Pushkin. Fejos always saw film as closer to painting than to theatre and was more concerned about issues of light and shadow than story. He also stated at this time that no great film would be made until it could be shot in color.[3]


Just as other prominent Hungarian filmmakers like Michael Curtiz and Alexander Korda had done, Fejos left Hungary in 1923 to escape the White Terror and the Horthy regime. He first travelled to Vienna where he was briefly employed by Max Reinhardt, then to Berlin where he worked as an extra on a Fritz Lang's Die Nibelungen. He then moved to Paris where he staged an unsuccessful production of Walter Hasenclever's avant-garde play L'Homme. He finally emigrated to the United States in October 1923. He arrived in New York City penniless and spoke little English, but managed to get several low paying jobs at funeral parlors or piano factories. By the spring of 1924 his English had improved and he managed to get a job as a laboratory technician at the Rockefeller Institute for Medical Research. He earned $80 a week and was employed there for two years. In 1925 he married a co-worker named Mimosa Pfalz, but the marriage lasted only 30 days. While living in New York he did manage to land one theater gig as a technical advisor to ensure the Hungarian atmosphere of an adaptation of Ferenc Molnár's The Glass Slipper. In the spring of 1926, Fejos spent his entire life savings of $45 on an old Buick and took a cross country trip to move to Los Angeles in pursuit of a film career there.[3]

1927–1930: Career as a Hollywood film director
When Fejos arrived in Hollywood he once again struggled to get by and only managed to land a few odd jobs working on scripts. Sometimes he would only survive by hitchhiking to Pasadena to steal fruit from orange orchards. On one of his hitchhiking trips he was picked up by a rich, young New Yorker named Edward Spitz, who had recently moved to Hollywood with ambitions to produce films. Fejos told Spitz all about his film career in Hungary and convinced Spitz to finance a film. Spitz agreed to give Fejos $5,000 to make a feature film, which was approximately only about 1% of the average film budget at that time. Fejos managed to work with this small budget and began production on his first American feature in October 1927. He was able to convince actor friends to appear in the film for free with the promise of compensation if it was successful, and even charmed Charlie Chaplin's frequent co-star Georgia Hale to appear in the film with the same promise at a time when Hale was earning $5,000 a week. He hired the inexperienced cameraman Leon Shamroy to shoot the film and rented studio space by the minute instead of by the day. Fejos also utilized sets that had been used for other films and made changes to the script when circumstances changed. When sets or actors were unavailable, Fejos had his crew film close-ups of hands, feet, cars or anything else that stuck him as interesting. Fejos was also able to get free film stock from the DuPont company, which was then trying to compete with the more established Kodak and Agfa companies. Filming lasted for 28 days.[3]


The Last Moment starred Otto Matieson as a man who commits suicide by drowning and then remembers the events of his life that lead up to his death in flashbacks. The finished film was seven reels and silent, but contained no title cards. It is currently a lost film, but a review described it as having "dizzying wipes, multiple superimpositions and vertiginous camera movements." The Last Moment was released in 1928 and received rave reviews and was a financial hit. Charlie Chaplin praised it and writer Tamar Lane called it "one of the most remarkable films that has ever been presented on the screen." With the film's success and Fejos's overnight celebrity status, major studios were suddenly competing for the former vagrant to sign contracts with them. Fejos settled with Universal Studios because its contract offered him complete artistic control.[3]


In 1928 Fejos quickly began production on his next and best-known film: Lonesome. The script was written by Edward T. Lowe Jr. and Tom Reed, and was based on a newspaper article about loneliness in the modern American cities. Carl Laemmle Jr. produced the film. In the film Glenn Tryon and Barbara Kent play two lonely New Yorkers who live in adjoining apartments but have never met. They meet by chance at Coney Island and begin a romance, but lose each other only to be reunited at their apartment building. The film was hand-tinted and, after the success of The Jazz Singer, "talkie" scenes were added after production had finished. The film was another box office hit and its reputation has grown throughout the years. Georges Sadoul called it a precursor to neorealism. Jonathan Rosenbaum praised the film and compared Fejos to such better known contemporaries as F. W. Murnau, Fritz Lang, Sergei Eisenstein and Vsevolod Pudovkin. Andrew Sarris has called it "a tender love story in its silent passages...[but] crude, clumsy and tediously tongue-tied in its talkie passages." Charles Higham stated that although "its visual style, initially attractive, becomes a monotonous succession of busy shots, dissolving over each other in a perpetual flurry...[but] the films charm is real."[3]


Fejos's third Hollywood film was The Last Performance, another box office success for Universal Studios in 1929. The film starred Conrad Veidt as a stage magician who falls in love with his assistant and was another part sound, part silent film. Later that year Fejos began production on his largest and most ambitious film: Broadway, based on the hit stage production produced by Jed Harris, George Abbott and Phillip Dunning. Fejos was given a $1 million budget, most of which was spent on the huge cubist nightclub set and on a 28-ton camera crane, which was the largest and most versatilw crane built up to that point. The film starred Glenn Tryon and Evelyn Brent. When released, the film was only a modest success and Fejos considered it a failure. It was remade by William A. Seiter in 1942. Film critic Miles Krueger said that "the images of the Paradise Club and the huge musical number (Final in Technicolor) have become basic screen literature."[3]


Fejos then began filming the musical Captain of the Guard (AKA Marsellaise) in 1930, the year he became an American citizen. During the shooting of an ambitious sequence with over 300 extras that depicted the storming of the Bastille, Fejos fell from a high scaffolding and suffered a concussion. It took him six weeks in bed to recover and John Stuart Robinson finished the film, with Fejos receiving no screen credit. He then worked on King of Jazz, which was officially directed by John Murray Anderson. Fejos became angry with Universal that once again he did not receive screen credit for his contributions to the film. His frustration with Universal and Hollywood reached its peak when he was not hired to direct All Quiet on the Western Front and Fejos broke his contract with the studio. He signed a contract with Metro Goldwyn Mayer shortly afterwards, but only directed the German and French language versions of The Big House.[3]

1931–1935: Career as a European film director
In 1931 Fejos accepted an invitation from Pierre Braunberger to direct early sound films in France and left Hollywood for good. Fejos complained to a reporter that Hollywood was too commercial and like a drug for the public. He went on to state that the Hollywood-fantasy happy endings simply blinded working people from their hopeless lives and that "if the movie theaters were suddenly closed in America, there would be a revolution", but that in Europe he hoped for "films made in the name of art."[3] Fejos's career in France was short-lived and began with his supervision of Claude Heymann's American Love in 1931. Next Fejos made the ambitious Fantômas, a remake of the famous serial made by Louis Feuillade in the 1910s.[3]


In 1932 Fejos returned to Hungary to direct Spring Shower (Tavaszi Zápor), which some film critics have called his best film. The film stars Annabella as a young girl who is seduced and abandoned, has a child and dies in poverty only to have to scrub floors in Heaven. While in Heaven, she sees that her now-teenage daughter is about to make the same mistake that she made and dumps her wash bucket to cause a rain storm and prevent it. Jonathan Rosenbaum praised the film, stating that it had "some magical moments of its own. Much as Lonesome seems indebted to the city and amusement park scenes in Sunrise, the nocturnal lighting and sensuality of Marie's seduction and its mysterious musical aftermath recall certain rustic night scenes in the same film. But unlike the determinism of Murnau's compositions and camera movements, Fejos' anthropological distance and fairy-tale encapsulations imply a different sort of relationship to his characters: the rapid cutting between details in a brothel parlous to convey Marie's confusion before fainting encourages an identification with sensations, not thoughts or feelings. And the beauty of Annabella's performance and a violin-and-clarinet theme may help one overlook some of the more reductive aspects of the folk legend that define the films dimensions." Fejos fell in love with Annabella and supposedly flew over her train back to France in a small plane and showered it with roses. Fejos's friend John W. Dodds has stated that "every time [Fejos] moved to another country, it was because of an ending love affair" and Fejos would spend the next few years throughout different European countries, often with frequent collaborators Lothar Wolff, his assistant director, and Ferenc Farkas, his composer. Fejos' second Hungarian film was The Verdict of Lake Balaton (Itél a Balaton) in 1932. In this film Fejos used beautiful documentary-like footage of local fishermen and their everyday lives. The film was highly criticized in Hungary for its depiction of the fisherman and accused of bigotry against village life.[3]


In 1933 Fejos moved to Austria and made Ray of Sunshine (Sonnenstrahl), again starring Annabella. The film focused on unemployment and poverty in post-World War I Austria and was praised by critics as "the summit of Fejos' art in Europe...too often ignored by the critics." Later that year Fejos made the light comedy Voices of Spring (Frühlingstimmen).[3]


In 1934 Fejos moved to Denmark and made three films for the Nordisk Film company: a light comedy in 1934 called Flight of the millions (Flugten fra millionerne), a farce about a world where there are no prisoners or police officers called Prisoner Number 1 (Fange Nr. 1) in 1935, and an adaptation of playwright Kaj Munk's The Golden Smile (Det Gyldne Smil) about the relationship between art and life in 1935.[3] 

1935–1941: Career as ethnographic filmmaker

By 1935 Fejos had grown tired of narrative films and their inauthentic sets and stories. That year he was sent by Nordisk Film to scout filming locations in Madagascar and loved the country so much that he ended up staying for nine months. He filmed over 30,000 feet of footage of animals, plants, tribal societies and local customs, all of which was unusable for a narrative feature. He also collected many artifacts and eventually donated them to the Royal Danish Geographical Society. When he returned to Denmark the unusable footage that he had shot was brought to the attention Svensk Filmindustri's Gunnar Skoglund [sv] who commissioned a series of six short documentaries to be made from the footage. These films included Black Horizons (Svarta Horisonter), The Dancers of Esira, Beauty Salon in the Jungle, The Most Useful Tree in the World, Sea Devil and The Graves of our Father, all released between 1935 and 1936.[3] In 1936, he married Inga Arvad, a Danish journalist, noted for a romantic relationship with John F. Kennedy and known as the mistress of Axel Wenner-Gren. Arvad had appeared in Flight of the millions and the two remained married until the early 1940s.

Inspired by his newfound passion for cultures and history, Fejos studied cultural anthropology at the Museum of Copenhagen in 1936 and studied under Dr. Thompson.[who?] He was then commissioned by Svensk Filmindustri to make a series of ethnographic films in such countries as Indonesia, the Philippines, New Guinea, Ceylon and Thailand from 1937 to 1938. These films included A Handful of Rice (En Handfull Ris), Man and Woman (Man och Kvinna), The Tribe Still Lives (Stammen lever än), The Bamboo Age of Mentawei (Bambuåldern på Mentawei), The Chief's Son is Dead (Hövdingens son är död), The Komodo Dragon (Draken på Komodo) and The Village Near Pleasant Fountain (Byn vid den trivsamma brunnen).[3]


In 1938 while returning from filming in Thailand Fejos met Swedish industrialist Axel Wenner-Gren, who would change Fejos' life in the same way that Edward Spitz had ten years earlier. The two men became fast friends and Wenner-Gren agreed to finance an expedition to Peru in late 1939. While in Cusco Fejos was told by a Franciscan friar about a legendary lost city somewhere in the jungle. He immediately contacted Wenner-Gren, who agreed to give additional financing for the expedition. Fejos discovered 18 ancient Incan cities[3] and traveled to the headwaters of the Amazon river. In total, he spent a year in Peru studying the culture and filming the Yagua tribe. His research resulted in Fejos' final series of films Yagua, released in 1940 and 1941. It also resulted in the publication of Ethnology of the Yagua, published by the Viking Fund Series of Publications in Anthropology in 1943.[3]

1941–1963: Career as anthropologist and final years

In 1941, Fejos both stopped making films and travelling to become Director of Research and acting head of the Viking Fund, a non-profit foundation based in New York City and created that same year by Axel Wenner-Gren. It was later renamed the Wenner-Gren Foundation for Anthropological Research. He went on to become highly respected in his field and was considered ahead of his time for calling for communication between various branches of anthropology. During this time Fejos also taught at Stanford, Yale and Columbia University.[3]


In 1958 Fejos married anthropologist Lita Binns, who would succeed him as research Director when he died on April 23, 1963. His obituary writer David Bidney said that "Paul Fejos had the temperament of an artist rather than a scholar or research scientist...He supported not only research projects but also, and primarily. individuals whom he trusted and considered worthy of support...His personal support of Pierre Teilhard de Chardin during the last years of the life of this eccentric genius is but one outstanding example...He leaves behind him the Wenner-Gren Foundation for Anthropological Research which he built, an international host of friends whom he helped, and a wife whom he cherished and appreciated."[3]

Selected filmography
Lord Arthur Savile's Crime (1920)
Stars of Eger (1923)
The Last Moment (1928)
Lonesome (1928)
The Last Performance (1929)
Broadway (1929)
The Big House (1930, German and French versions)
Captain of the Guard (1930)
Men Behind Bars (1931)
American Love (1931)
Fantômas (1932)
Spring Shower (1932)
The Verdict of Lake Balaton (1932)
Voices of Spring (1933)
Flight from the Millions (1934)
The Golden Smile (1935)
Prisoner Number One (1935)
Svarta horisonter (1936, series of 6 short documentaries)
Stammen lever än (1937
Bambuåldern på Mantaivei (1937)
Hövdingens son är död (1937)
Draken på Komodo (1937)
Byn vid den trivsamma brunnen (1937)
Tambora (1938)
Att segla är nödvändigt (1938)
En handfull ris (1938)
Man och kvinna (1939)
Yagua (1941)

Further reading
Büttner, Elisabeth (2004). Paul Fejos Die Welt macht Film. Vienna, Austria: verlag filmarchiv Austria, Wien. ISBN 3901932313
The story of P.Frejos and The Klerk
See also
Runkuraqay

References
^ "The Travels of Paul Fejos". Criterion. Retrieved 5 May 2014.
^ Dodds, John W. (1963). "Eulogy for Paul Fejos". Current Anthropology. JSTOR. 4 (4): 405–407. doi:10.1086/200416. JSTOR 2739913.
^ a b c d e f g h i j k l m n o p q r s t Wakeman, John. World Film Directors, Volume 1. The H. W. Wilson Company. 1987. pp. 315–319. ISBN 0-8242-0757-2.
^ "Wenner-Gren Foundation profile of Paul Fejos". www.wennergren.org. Retrieved 2012-07-21.
External links
Wikimedia Commons has media related to Paul Fejos.

Paul Fejos on IMDb
Literature on Paul Fejos
The Travels of Paul Fejos

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