Richard A. Rowland
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. (March 2013) (Learn how and when to remove this template message)
Richard A. Rowland (December 8, 1880 – May 12, 1947) was an American studio executive and film producer.
Richard A. Rowland
Rowland in 1920
|Born||December 8, 1880|
Pittsburgh, Pennsylvania, U.S.
|Died||May 12, 1947 (aged 66)|
New York City
|Other names||R. A. Rowland|
|Occupation||Studio executive, film producer|
Born in Pittsburgh, Pennsylvania, Rowland was the head of Metro Pictures Corporation from 1915 to 1920, a studio he founded in 1915 along with Louis B. Mayer. Mayer left in 1918 to form his own studio. Metro did most of its productions in Los Angeles and in New York City, where it occasionally leased facilities in Fort Lee, New Jersey. Among Metro's productions were: The Eternal Question (1916) with Olga Petrova, The Divorceé (1919) with Ethel Barrymore, and What People Will Say? (1915) directed by Alice Guy-Blache.
In 1919, when Charlie Chaplin, D.W. Griffith, Douglas Fairbanks, and Mary Pickford formed United Artists to protect their work and control their careers, Rowland, then head of Metro Studios, famously remarked that "the lunatics have taken over the asylum".
In 1920, Rowland sold Metro to Marcus Loew, and subsequently became an executive at Fox Film Corporation. Loew was acquiring studios to help supply product to his theater chain. A few years later, Loew merged Metro with recently acquired Goldwyn Pictures Corporation to form Metro-Goldwyn-Mayer (MGM).
Rowland played a key role in the setting of standards and improving the speed of movie projection to improve the quality of the experience as a member of the Society of Motion Picture Engineers, later the Society of Motion Picture and Television Engineers (SMPTE).
Later years and deathEdit
Later in life, he was a Professor at Columbia University, where he wrote several academic articles on the role that film played in modern culture. One of his essays, titled American Classic, he argues that Marx Brothers films are classics that will stand the test of time.
|1918||Pay Day||actor, as himself|
|1929||The Divine Lady||Executive producer|
|House of Horror||Producer|
|Two Weeks Off||Producer|
|1936||I'd Give My Life||Producer|
|Along Came Love||Producer|
|1941||Cheers for Miss Bishop||Producer|
- James Mottram, The Sundance Kids: How the Mavericks Took Back Hollywood (Faber, 2006)
- Tino Balio, The American Film Industry: a Reader revised 2nd Edition (University of Wisconsin Press, 1985) pp. 319
- Wes D. Gehring, The Marx Brothers: a Bio-Bibliography (Greenwood Publishing Group, 1987) pp 177.
- Richard Rowland, 'American Classic', Hollywood Quarterly (April 1947) Vol. 2, No. 3