Development

Authors Charlie Keil and Shelley Stamp observe in the book American Cinema's Transitional Era, Audiences, Institutions, Practices – "The years between 1908 and 1917 witnessed what may have been the most significant transformation in American film history. During this "transitional era", widespread changes affected film form and film genres, filmmaking practices and industry structure, exhibition sites, and audience demographics."^[15] One aspect of this transition was the longer duration of films. Feature films^{[lower-alpha 2]} were slowly becoming the standard fare for Hollywood producers. Before 1913, you could count the yearly features on two hands.^[18]

Between 1915 and 1916, the number of feature movies rose Two and one-half times or from 342 films to 835.^[18] There was a recurring claim that Carl Laemmle was the longest-running studio chief resisting the production of feature films.^[19] Universal was not ready to downsize its short film^{[lower-alpha 3]} business because short films were cheaper, faster, and more profitable to produce than feature films.

Laemmle would continue to buck this trend while slowly increasing his output of features. In 1914, Laemmle published an essay titled - Doom of long Features Predicted.^[21] In 1915, Laemmle ran an advertisement extolling Bluebird films while adding the following vocabulary on the top of the ad.^{[lower-alpha 4]}

In his book "The Universal Story - The Complete History of the Studio and its 2,641 films," Clive Hirschhorn states Carl Laemmle (c. 1867-1939) produced around ninety-one feature movies in 1916.^[23] This total included fifty-four Bluebird films.^{[24][lower-alpha 5]}

Casting

• Rupert Julian (born Thomas Percival Hayes) (1879 – 1943) was 37 years old when he accepted the role as Ebenezer Scrooge.
  Thomas Percival Hayes was born in Whangaroa, New Zealand, in January 1879. He adopted the stage name "Ralph", eventually changing to "Rupert Julian". These name changes avoided confusion with a local personage, Percy Hayes, a convicted felon. Julian was already an experienced stage actor when he migrated from Australia to America in July 1911. After becoming an established stage actor in the New York theater district, he moved to Los Angeles and found work in the burgeoning movie industry.
  Julian had worked in close to 80 movies and directed 28 before accepting the dual role of director and leading role of Ebenezer Scrooge. After completing this film, he continued to find work as an actor, director, writer, and producer. Eventually, he acted in over 90 films, of which he directed 60. Julian's career waned with the advent of Talkies. He retired in 1936 and died in Hollywood at 64 in September 1943.^[27]
  
• Johnnie Cook (born John Joseph Cooke) (October 1, 1874 – October 2, 1921) was an American actor born on October 1, 1874, in Manhattan, New York. Cooke was 42 and a veteran character actor when he was selected for the supporting role of Bob Cratchit. Like most of the actors in this movie, he was a Universal contract player. He acted in over 30 films between 1914 and 1921. He died on October 2, 1921, in Los Angeles, California, at age 47, and was buried in East Los Angeles, California.^[28]
  
• Claire McDowell (born Claire MacDowell) (1877 – 1966) was an American actress. She was 39 years old when this film was released. Her role in this movie was portraying Mrs. Cratchit, the wife of Bob Cratchit. She appeared in 350 films between 1908 and 1945.^[29][30]
  
• Frankie Lee (1911–1970), was an American child actor of the silent era born on December 31, 1911, in Gunnison, Colorado. Lee was 4 years old when he appeared in this film as Tiny Tim. Lee made his acting debut in the 1916 Universal production of Her Greatest Story directed by Lynn Reynolds. This picture would be his second film. Frankie was also the older brother of Davey Lee, another child actor.^[31] Lee would also make an appearance in the 1922 Emory Johnson-directed picture The Third Alarm. Frankie made his last film appearance in the 1925 production of The Golden Strain, which starred Hobart Bosworth and Madge Bellamy. He appeared in 56 films between 1916 and 1925.^[32]
  
• Harry Carter (born Harry Benjamin Carter) (1879 – 1952) was 37 years old when he landed the role of Jacob Marley. Carter was an American actor who appeared in 84 films between 1914 and 1933.^[33]
  
• Emory Johnson (1894 – 1960) was 22 years old when he acted in this movie as Fred, Scrooge's Nephew. In January 1916, Emory signed a contract with Universal Film Manufacturing Company. Carl Laemmle of Universal Film Manufacturing Company thought he saw great potential in Johnson. Laemmle paired Dorothy Davenport with Emory Johnson to create sizzling chemistry on the silver screen. 1916 saw Johnson and Davenport complete 13 films together, ending with The Devil's Bondwoman released in November 1916.
  Johnson would make 17 movies for Universal in 1916, including six shorts and 11 feature-length Dramas. 1916 would become the second-highest movie output of his entire acting career. Emory acted in 25 films for Universal, mostly dramas with a sprinkling of comedies and westerns.
  
• Francelia Billington (1895 – 1934) was 21 years old when she acted in this movie playing Scrooge's Sweetheart. She was an American silent-screen actress and an accomplished camera operator. She acted in 140 films between 1912 and 1930.^[34][35]
  
• Lydia Yeamans Titus (born Lydia Annie Yeamans) (1857 – 1929) was 59 years old when she acted in this movie as Mr. Fezziwig. She was an Australian–born American singer, dancer, comedienne, and actress. She appeared in at least 142 motion pictures between 1911 and 1930.^[36]
  
• Wadsworth Harris (1864 – 1942) was 52 years old when he acted in this movie portraying the Ghost of Christmas Past. He acted in 46 films between 1911 and 1936.^[37]
  
• Richard L'Estrange (born Gunther Van Strensch) (1889 – 1963) was 26 years old when he acted in this movie as the Ghost of Christmas Present. He acted in 27 movies between 1913 and 1929. They also show L'Estrange served in the movie industry as an actor, assistant director, casting director, cinematographer, director, producer, and production manager.^[38]
  
• Tom Figee (1881 – 1941) was 35 years old when he acted in this movie playing the Ghost of Christmas Yet to Come. This film was the only feature film he acted in. He also acted in one short film in 1922.^[39]
  

• Roberta Wilson (1897 – 1977 ) was an American actress born on January 15, 1896, in Pittsburgh, Pennsylvania. She was 20 years old when she played the part of Caroline. When she was young, her parents moved the family to Alabama. She was also the younger sister of the more famous Lois Wilson. Both girls were known as the Alabama beauties. Wilson started working for Universal in November 1915. Like most aspiring actors, she earned her acting chops in minor uncredited roles. Wilson appeared in her first Universal movie with an onscreen credit - The Other Half on April 25, 1916. After her introduction as a female lead in The Other Half, she had gone from uncredited to shared top billing in a matter of months. Roberta Wilson's first feature-length film was the Universal Red Feather production of The Isle of Life released on October 30, 1916.^[40] Wilson's second feature-length film was the Universal Red Feather production of The Heritage of Hate released on November 13, 1916.^[41] This movie would mark her promotion to do Bluebird films. 1916 would mark the highest yearly film output of her entire acting career. Wilson would receive onscreen credit for 12 movies consisting of 3 features and 9 short films.

Roberta Wilson was not the first choice for the role of Caroline. Agnes (Brownie) Vernon (1895–1948) was an American actress of the silent era born on December 27, 1895, in San Diego, California. She was chosen to play the character of Caroline in this movie when she was just 20. During the production of this movie, she was under an exclusive contract with Universal and a valued member of the Bluebird stable of actors. With her established name, prior acting experience, and a history of collaboration with Rupert Julian, Vernon appeared to be an ideal fit for the role. Universal had grand plans for this film, aiming to make it a standout attraction for the Christmas season. Caroline's scenes were slated to be filmed towards the end of the production.^[42] This project marked Vernon's second planned feature film and her final slated appearance for 1916.^[43]

The movie's promotional materials and articles widely advertised that Francelia Billington and Agnes Vernon were the lead actresses. Trade magazines consistently listed Vernon as playing Caroline until approximately Christmas 1916. In December, Vernon was involved in a car accident and sustained injuries.^[44] While no known news items directly attributed her replacement to the accident, the timing was highly coincidental. An article in Billboard on December 2 mentioned that Universal had postponed the film's release from December 18 to December 25.^[42] The studio desired one of their beauties to portray the character of Caroline, which ultimately led to the selection of southern belle Roberta Wilson for the role.

Director

Rupert Julian (born Thomas Percival Hayes) (1879 – 1943) was 37 years old when he undertook the dual roles of director and actor in this film. When he migrated from Australia to New York City in 1911, he was already in his thirties and an established stage and screen actor. After establishing himself as a stage actor in New York, he moved West to Los Angeles in 1913.

Julian embarked on his cinematic journey by acting in his first recorded short film, His Sister released by Universal on February 9, 1913. He would finish the year by acting in fourteen more short films. The following year, 1914, he worked in another twenty-five films. His first recorded directing experience was in August 1914, when he directed the short film The Midnight Visitor. In 1915 he acted in nineteen pictures and directed six short films. In 1916 he performed in twenty-three films. This year would mark the first time he directed a feature film, a Bluebird Photoplay titled Naked Hearts released by Universal on May 10, 1916. He would also direct three more Bluebird feature films before being given the reins of The Right to be Happy. With a substantial body of work already under his belt, Rupert Julian had acted in an impressive total of eighty movies and directed twenty-eight before undertaking the dual responsibilities of a director and the leading role of Ebenezer Scrooge. He remained active in the industry and directed his final film in 1930.^[27]

Themes

THE DICKINS STORY
A Christmas Carol was introduced as a Christmas-themed story during its initial publication. The story's events unfold on Christmas Eve and Christmas Day, embodying the true spirit of generosity and compassion associated with Christmas. Yet, a profound moral lesson lies beneath the surface of this seemingly straightforward yuletide narrative. Scholars, over generations, have dissected the themes and significance of this novella, reaching a consensus that its core theme revolves around the transformation of its main character, Scrooge.^[45][46] Dickens introduced Scrooge by having him appear as "a two-dimensional figure, a cold-hearted, selfish old man isolated from everyone around him. All of these details of Scrooge's past rescue him from being merely the stage villain of the opening pages and show him to possess an emotional depth, a regret for lost opportunities."^[47] Thus, at its core, "A Christmas Carol" is a Christian morality tale serving as a reminder that even the most hardened hearts can be softened and redeemed to embrace compassion and find redemption. Arguably this is the biggest theme both in the novella and the movie.

UNIVERSAL'S APPROACH

"There will be an all-year interest in "The Right to be Happy," as the lesson of benevolence "A Christmas Carol" presents has no particular season".

— 1916 Moving Picture World Article, ^[48]

Universal bravely approached this timeless tale from a fresh perspective while preserving the original novella's essence. Universal placed the primary focus on Scrooge's transformation. By doing so, the film aimed to become a year-round morality play, where the central theme revolved around Scrooge's profound change, with Christmas serving as an incidental backdrop. In her book "Charles Dickens: A Life" Claire Tomalin argues that Scrooge's conversion carries a powerful Christian message: " . . . even the worst of sinners may repent and become good men.".^[49] By using this concept of Redemption, or the act of being saved from sin or evil, emerges as a paramount theme throughout the movie, appealing to audiences all year round.

Universal was concerned that keeping the film's original name, A Christmas Carol, would forever link it to the Christmas season, potentially impacting its bookings all year round. To avoid this issue, they altered the title. Having recognized that a crucial aspect of the moral message conveyed the idea of individual control over one's destiny, the decision to implement this change resulted in the new title, A Right to be Happy. Universal also took artistic liberties by delving into Scrooge's backstory before he transformed into the infamous curmudgeon. Unlike the original novella, this added character development brought depth and insight into Scrooge's journey. The movie fan would have an explanation for why Scrooge is the embodiment of values contrary to Christmas, including greed, selfishness, and a lack of goodwill toward others.

Ultimately, Scrooge's transformation is a powerful lesson, reminding us that anyone can change and embrace a more generous and compassionate attitude toward others. Universal hoped this film, brimming with its heartfelt emotions and redemption, would resonate so profoundly with the audience that it becomes relevant every day of the year.

Suppose we were to update Scrooge's transformation to the 21st century. In that case, one might use the term Scared Straight. The wiktionary defines scare straight as To frighten (someone) to such a degree that a significant improvement in behavior results.^[50]

Screenplay

Elliot Judd Clawson (a.k.a. E.J. Clawson, Elliot Clawson) (1883-1942) was an accomplished screenwriter who authored the scenario "A Right to be Happy" at the age of 33. The prolific screenwriter wrote scripts for seventy-nine films between 1913 and 1929. Forty-nine of these scripts were produced under the banner of Universal Pictures.^[51]

Clawson was born in Salt Lake City, Utah, on January 18, 1883. He began his professional career as a newspaper reporter in San Francisco. However, in 1910, Clawson's path took a new turn as he ventured into the realm of cinema in 1910. This marked his debut as a scenario writer, setting the stage for a prolific career. It was in this new artistic landscape that Clawson found his true calling.

His first foray into screenwriting came with the short film "Shadows of Life," released in October 1913 by the Rex Motion Picture Company. He wrote his first feature-length scenario for "The Truth Wagon," released in December 1914 by Masterpiece Film Manufacturing Company. He became a well-known writer for the Morosco Photoplay Company and Masterpiece Films until he was signed to a contract by Universal in March 1916.

Clawson landed his first writing assignment for Universal, crafting the scenario for the short film "The Fur-Trimmed Coat," released in May 1916. The film paired Clawson with Rupert Julian, marking the beginning of a fruitful partnership with the multi-talented Rupert Julian, who directed and starred in the movie. Clawson created fifteen scenarios in 1916, of which eight were for Rupert Julian's projects. Their creative synergy would culminate in The Right to be Happy, released in December 1916.

As Clawson's collaboration with Julian extended over the years, their partnership blossomed further. Clawson's involvement in scenario writing extended to twenty-four out of the sixty films that Julian directed between 1916 and 1925. Their exceptional journey together culminated in the production of the iconic film The Phantom of the Opera released in September 1925.

In 1930, Clawson achieved a notable milestone in his career when he received Academy Award nominations for Best Writing (Adapted Screenplay) in not just one but four different films.^[52] The advent of Talkies caused the careers of Julian and Clawson to languish and then fade into obscurity. Elliott Clawson died in Vista, California, on July 24, 1942

Schedule

More information ◆ The Movie Schedule is pieced together from multiple sources ◆, Year ...

◆   The Movie Schedule is pieced together from multiple sources    ◆
Year	Month	Day	Event	Ref
1916	Nov	3	Rupert Julian is directing and playing Scrooge . . . which is being produced in 5 reels at Universal City. . . Notable cast including Claire McDowell, Agnes Vernon . . "	[55]
1916	Nov	19	Director Rupert Julian at Universal City is making progress filming Charles Dickens's famous story "A Christmas Carol."	[56]
1916	Nov	25	Dickens' "Christmas Carol" is being produced at Universally City under the direction of Rupert Julian, including Agnes Vernon	[57]
1916	Dec	2	"A Christmas Carol" . . . "The release will be made on December 18 with Mr. Julian, Francelia Billington, and Agnes Vernon featured"	[58]
1916	Dec	9	The first mention of the film's title - "The Right to Be Happy" in a publication published by Universal.	[59][60]
1916	Dec	21	Critic's review of "The Right to Be Happy," published on Dec 21, 1916, first mentions Roberta Wilson in the cast	[61]
1916	Dec	23	"Several changes deemed advisable . . Rupert Julian's screen version of the Dickens classic "A Christmas Carol was originally set for Dec 18, but it will now be shown Dec 25 as a feature of exact timeliness. "The Right to be Happy" will be used as the title and Mr. Julian with Francelia Billington, Agnes Vernon . . "	[62]
1916	Dec	23	"Production of 5-reel comedy-drama "Face Value" featuring Agnes Vernon has been delayed because of an accident which befell Miss Vernon. She was thrown from the automobile . . ."	[63]
1917	Jan	1	"For several days, Agnes Vernon, known as "Brownie" at Universal City, and who portrays one of the leading roles in Director Wm. Worthington's company was confined to her home following injuries she received when thrown from an automobile."	[64]

Close

Working Title

During the production phase, films need a reference name to identify the project, often called an Alternate or Working title. Often, the working title becomes the official release title of the film.

According to the British Film Institute website, Universal considered titling the movie, Scrooge the Skinflint.^[65] In his book, "The Universal Silents: A Filmography of the Universal Motion Picture Manufacturing Company, 1912-1929," Richard Braff supplements his entry for A Right to be Happy with the additional notation - also known as "Marley Ghost."^[66]

The most significant alteration involved switching the movie title from the novella's original name, A Christmas Carol to The Right To Be Happy. In the December 2, 1916, issue of Motion Picture News, the article refers to the film as a version of – "A Christmas Carol."^[67] In the December 9, 1916 issue of The Moving Picture World, the item cites the film's final release title as – "The Right to Be Happy"^[60]

Music

One noteworthy aspect of Bluebird Films was their practice of crafting unique musical scores specifically for each of their productions and then submitting these scores to the Library of Congress. As a result, numerous film scores from Bluebird productions can be found in the LOC collections.

One example of this convention was the musical score submitted to the Library of Congress for the 1916 Bluebird production of The Crippled Hand. The LOC is titled - Musical setting to the Bluebird photoplay no. 15 : Robert Leonard and Ella Hall in "The crippled hand". The item also shows original scores by – Winkler, Max, 1888-1965, composer and Rehsen, F. (Frank), 1877-1948, composer.^[69] Regrettably, there are no surviving musical scores from this film in the LOC archives.

In the "Accessory News Section" of the Motion Picture News dated January 6, 1917, the introduction to the "Music and the Picture" component reads:

"Suitable and effective musical accompaniments are of prime necessity and to every moving picture production. In view of this important necessity, Motion Picture News has now completed special arrangements to provide all subscribers with complete musical cue sheets free of charge.   . . The music page published in the News is a great aid to orchestra leaders, and all the theatre manager has to do is hand it to his musicians."^[70]

The following shows some of the early lines of the Motion Picture News musical Cue Sheet for The Right to Be Happy:

Critical Response

• In the December 25, 1916 issue of the "Chicago Tribune," the movie was reviewed by Mae Tinee. She observed:

  A Christmas, Carol Dickens, the immortal story of the world's greatest Grouch, has been beautifully picturized, and if you have a chance this Christmas week and would like to really get into the good old fashion spirit of Yuletide, try and locate and see the right to be happy. (I think it's a pity though they changed the name.)
  This feature has been carefully and intelligently produced. The quaint characters and settings have been copied, almost in detail from the descriptions in the book. Rupert Julian's Ebeneezer Scrooge is a classic. John Cook, as Bob Cratchit, is as real as can be, and how you're going to love Tiny Tim.^[78]

• In the December 30, 1916 issue of the "Moving Picture World," the reviewer Margaret MacDonald stated:

  "The five-part screen version of that delightful Dickens' classic. "A Christmas Carol" is destined to give pleasure to many Christmas audiences. The production has a genuine spirit of Dickens, and the characters are well portrayed. Sometimes in ensemble scenes, we are conscious, for instance, of the spirit of the boisterous American girl, rather than the subdued and dignified feminine of the England of Dickens' day,' but dealing with generalities, we are pleased. While this production may not compare altogether favorably with some Dickens' productions we have seen that have been made on English soil, still, there is little fault to be found with. Still will minored with it and children will be delighted with this adaptation of the story of the regeneration of an old grouch."^[79]

• In the December 30, 1916 issue of the Motion Picture News, movie critic Steve Talbot points out:

  "A Pretentious adaptation of Charles Dickens's classic of the holiday spirit, known everywhere as "A Christmas Carol." The only criticism that could be leveled at the production is that the players seemed too cold by far. They fairly reveled in mufflers and topcoats, while the California sunshine bathed everything in its rays. Much fine photography and an air of Christmas homeliness pervade the whole production. Some years ago the Edison Company cleaned up on their version of this story, in one reel, as a Christmas special release. It is highly probable that Bluebird will do the same this year with this five-reeler."^[80]

Audience response

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

• Dale Loomis Manager Peru, Indiana population 12,000^[81]

  . . the Public High School of this city have chosen your feature picture, "The Right to be Happy," which we play on next Friday, as the best subject to be obtained for a benefit performance for the school. This is certainly a boost for the Bluebird pictures, as this choice was made after looking over twelve different makes of pictures.

• Chas E. Cobbey, Pastor First Christian Church Omaha, Nebraska population 191,000^[82]

  We ran your photoplay, "The Right to Be Happy," last Friday night, and I am writing to let you know that we considered it one of the finest that we have ever had. Old and young enjoyed it equally. The acting was of the best. We are very grateful to you for the film because I have had to turn down film after film that I did not think was the proper thing to show; but certainly, no one could object to anything in "The Right To Be Happy." It is delicate and could be shown with profit and benefit in any church in the country.

• M.J.Weil Lake Shore Theater Chicago, Illinois population 2,500,000^[83]

  A very good picture which was well-liked. Good box office attraction - Very High-Class Patronage.