View source for June Mathis

{{short description|American screenwriter, producer and film studio executive}}
{{Use mdy dates|date=November 2013}}
{{Infobox person
| name = June Mathis
| image = June Mathis Who's Who on the Screen.jpg
| imagesize = 200px
| caption = June Mathis, c.1920
| birthname = June Beulah Hughes
| birth_date = {{Birth date|1887|01|30}}
| birth_place = [[Leadville, Colorado]], U.S.
| death_date = {{Death date and age|1927|07|26|1887|01|30}}
| death_place = [[New York City]], U.S.
| resting_place = [[Hollywood Forever Cemetery]]
| yearsactive = 1916–1927
| known_for = Discovering [[Rudolph Valentino]]
| spouse = {{marriage|Sylvano Balboni|1924}}
}}

'''June Mathis''' (born '''June Beulah Hughes''',<ref name=bachman>{{Cite book|last=Bachman|first=Gregg|author2=Slater, Thomas J.|title=American Silent Film: Discovering Marginalized Voices|publisher=SIU Press|year=2002|pages=203|isbn=0-8093-2402-4}}</ref> January 30, 1887 – July 26, 1927) was an American screenwriter. Mathis was the first female executive for [[Metro-Goldwyn-Mayer|Metro/MGM]] and at only 35, she was the highest paid executive in [[Cinema of the United States|Hollywood]].<ref name="Ellenberger">{{Cite web|url=http://www.altfg.com/blog/classics/june-mathis/|title= June Mathis: Q&A with Author Allan Ellenberger|last=Soares|first=Andre|date=April 1, 2007|publisher=altfg.com|access-date=July 27, 2009}}</ref>  In 1926 she was voted the third most influential woman in Hollywood, behind [[Mary Pickford]] and [[Norma Talmadge]].<ref name="JoH">Journal of Humanities. 2007.</ref> Mathis is best remembered for discovering [[Rudolph Valentino]] and writing such films as ''[[The Four Horsemen of the Apocalypse (film)|The Four Horsemen of the Apocalypse]]'' (1921), and ''[[Blood and Sand (1922 film)|Blood and Sand]]'' (1922).

==Early life==
[[File:June Mathis in The Blue Book of the Screen.jpg|270px|thumb|Photograph published 1923]]
June Mathis was born June Beulah Hughes in [[Leadville, Colorado]], the only child of Virginia Ruth and Dr. Philip Hughes. Her parents divorced when she was seven and her mother remarried to William D. Mathis, a widower with three children whose name she would eventually adopt as a stage name.

She had been a sickly child and believed she healed herself through her sheer force of will. She believed everything was mental and everyone had certain vibrations, stating, "If you are vibrating in the right place, you will inevitably come in contact with the others who can help you. It's like tuning in on your radio. If you get the right wave-length, you have your station."<ref>{{Cite book|last=Wortis Leider|first=Emily|title=Dark Lover: The Life and Death of Rudolph Valentino|publisher=Macmillan|year=2004|pages=115|isbn=0-571-21114-3}}</ref>

Mathis was educated in [[Salt Lake City]] and San Francisco.<ref name="bachman" /> It was while in San Francisco she gained her first stage experience, dancing and doing imitations in [[vaudeville]]. At the age of 12 she joined a traveling company and at 17 became an [[Ingenue (stock character)|ingenue]], performing with [[Ezra Kendall]] in ''The Vinegar Buyer''.<ref>{{Cite book|last=Hanaford|first=Harry Prescott |author2=Hines, Dixie|title=Who's Who in Music and Drama: An Encyclopedia of Biography of Notable Men and Women In Music and the Drama|publisher=H.P. Hanaford|year=1914|pages=218}}</ref>

Later she appeared in several Broadway shows and toured for four seasons with the [[Drag queen|female impersonator]] [[Julian Eltinge]] in the widely popular show ''[[The Fascinating Widow]]''. Supporting her now twice-widowed mother, she would continue to perform in theatre for the next 13 years.<ref name="Slater">Slater. 1984 p.246-250</ref>

==Career==

===Screenwriting===
Mathis was determined to become a screenwriter and, accompanied with her mother, she moved to New York City, where she studied writing and went to the movies in the evenings.<ref name="Slater"/> She entered a screenwriting competition; but despite not winning, her entry was so impressive it did bring job offers.

Her first script, ''House of Tears'', would be directed by Edwin Carewe in 1915 and led to a contract in 1918 with [[Metro-Goldwyn-Mayer|Metro]] studios, later to be merged into MGM. As one of the first screenwriters to include details such as stage directions and physical settings in her work, Mathis saw scenarios as a way to make movies into more of an art form. Much of the standard screenwriting styles can be attributed to her. Mathis later credited her success to a strong concentration on plot and theme: "No story that did not possess a theme has ever really lived.... Occasionally one may make money and perhaps be popular for a time. But in the end it dies."<ref name="Slater" />

By 1919 Mathis and her mother had moved to Hollywood. After only a year of screenwriting, she had advanced to the head of Metro's [[scriptwriting|scenario]] department.<ref name="Maher">{{Cite book|last=Ward Mahar|first=Karen|title=Women Filmmakers in Early Hollywood|publisher=JHU Press|year=2006|pages=[https://archive.org/details/womenfilmmakersi0000maha/page/200 200]|isbn=0-8018-8436-5|url=https://archive.org/details/womenfilmmakersi0000maha/page/200}}</ref> She was one of the first heads of any film department and the only female executive at Metro.<ref>Leider. 2003. p.237</ref>

During her early years, she had a close association with silent star [[Alla Nazimova]]. Their films together can be said to be marked by over-sentimentality; what little praise these films received was due to Nazimova's acting rather the conventional romantic stories.<ref name="Slater"/>

===''The Four Horsemen of the Apocalypse''===
In 1921, [[Richard A. Rowland|Richard Rowland]], the head of Metro, paid $20,000 and 10% of the gross earning for [[Vicente Blasco Ibáñez]]'s novel ''The Four Horseman of the Apocalypse''.{{sfn|Barton|2014|p=73}} The epic bestseller had been considered unadaptable by every major studio but Rowland handed the book to Mathis for adaptation and was so impressed with her screenplay that he asked her input on director and star. Mathis had seen [[Rudolph Valentino]] in a bit part in ''[[Eyes of Youth]]'', and she exerted her influence to cast Valentino. Studio heads resisted hiring an unknown actor for a lead role.<ref name="Leider. 2003. p.4">Leider. 2003. p.4</ref> Despite her many other accomplishments, this "discovery" would grow to be her best-known act. For the same movie she also insisted the studio hire [[Rex Ingram (director)|Rex Ingram]] as director.<ref name="Maher"/>

''[[The Four Horsemen of the Apocalypse (film)|The Four Horsemen of the Apocalypse]]'' was one of the first films with an anti-war theme. Mathis also injected some early depictions of alternative lifestyles; it featured a scene with German officers coming down the stairs in drag. Of the scene, Mathis later told the ''[[Los Angeles Times]]'': "I had the German officers coming down the stairs with women's clothing on. To hundreds of people that meant no more than a masquerade party. To those who have lived and read, and who understand life, that scene stood out as one of the most terrific things in the picture."<ref name="JoH"/>

====Valentino====
[[File:June Mathis and Rudolph Valentino.jpg|200px|thumb|Screenwriter June Mathis on the set of ''[[Blood and Sand (1922 film)|Blood and Sand]]'' with star and lifelong friend [[Rudolph Valentino]]]]

''The Four Horsemen of the Apocalypse'' was a success, grossing $4,500,000 domestically, thus becoming one of the most commercially successful silent films ever made and launching Valentino into stardom.<ref name="Slater"/> Even before it was released, Valentino was receiving offers from other studios. Taking Mathis' advice, he remained with Metro to get another solid role or two under his belt.

Mathis and Valentino remained friends after ''Four Horsemen''. The older plain-looking Mathis doted on the talented, beautiful young man. Accounts state that Valentino regarded Mathis in a motherly way, calling her "Little Mother". [[Nita Naldi]], who worked with them on ''Blood and Sand'', said: "She mothered Rudy, and my dear she worshiped him and he worshiped her."<ref>Leider. 2003. p. 114</ref>  "She discovered me, anything I have accomplished I owe to her, to her judgment, to her advice and to her unfailing patience and confidence in me", said Valentino on Mathis in a 1923 interview with Louella Parsons.<ref>{{cite web | url = http://www.tcm.com/thismonth/article.jsp?cid=88148&mainArticleId=133224 | title = TCM: The Four Horsemen of the Apocalypse (1921)| access-date = November 11, 2010}}</ref>

Mathis looked after Valentino's welfare during his time at Metro, making sure he gained the best parts and was taken care of. When Valentino showed up on the set for ''The Conquering Power'', another Mathis script with Rex Ingram at the helm, his new-found stardom went to his head, along with resentment at working for the same wage of $350 a week.
{{sfn|Barton|2014|p=75}}  The friction between him and Ingram, and his need for more money to support mounting debts, led Valentino to sign with [[Famous Players–Lasky]] (later known as [[Paramount Pictures]]) for $1,000 a week.

Mathis was also one of the people who helped bail Valentino out of jail when he was arrested for [[bigamy]], having married [[Natacha Rambova]] without finalizing his divorce to [[Jean Acker]]. Though the two were inseparable, their relationship became strained during Valentino's marriage to Rambova. When Mathis submitted a script for ''The Hooded Falcon'', one of Valentino's pet projects, the couple deemed it unacceptable and asked to have it rewritten. Mathis took it as a great insult and broke off all contact with Valentino.<ref>Leider. 2003. p. 323</ref>

===Executive===
Mathis' position with Metro was called by the ''Los Angeles Times'', "The Most Responsible Job ever Held by A Woman".<ref>{{Cite journal|title=the Most Responsible Job Ever Held by a Woman|journal=Los Angeles Times|date=June 3, 1923|first=Kathleen|last=Lipke|pages=13 }}</ref> She was arguably one of the most powerful women in Hollywood, even said to be almost as powerful as [[Mary Pickford]]. Mathis had influence over casting, choice of director and many other aspects of production.<ref name="Maher"/> Her strength lay in careful preparation of the shooting script along with the director, cutting out waste in production while at the same time sharpening narrative continuity.<ref name="stjames">{{Cite book|last=Unterburger|first=Amy L.|author2=Foster, Gwendolyn Audrey|title=The St. James Women Filmmakers Encyclopedia: Women on the Other Side of the Camera|publisher=Visible Ink Press|year=1999|pages=[https://archive.org/details/stjameswomenfilm0000unse/page/270 270]|isbn=1-57859-092-2|url=https://archive.org/details/stjameswomenfilm0000unse/page/270}}</ref>

After she had spent seven years at Metro, Famous Players–Lasky was able to lure her away with the promise that she could continue to write for her protégé Valentino. When Valentino moved to [[Goldwyn Pictures]], she did as well, this time gaining sovereign control.

===''Greed''===
Mathis continued to survive in Hollywood despite being involved in two of the greatest financial fiascoes of the 1920s. When [[Erich von Stroheim]] presented Goldwyn Pictures with his masterpiece ''[[Greed (1924 film)|Greed]]'' (1924), following [[Frank Norris]]'s novel ''[[McTeague]]'' very closely, it was 42 reels and 10 hours long. Stroheim himself realized the original version was far too long, so he reduced it to 24 reels (6 hours), hoping the film could be screened with intermissions in two successive evenings. But Goldwyn executives demanded further cuts. Stroheim allowed his close friend [[Rex Ingram (director)|Rex Ingram]] to reduce it to 18 reels (4½ hours).<ref name="stjames"/>

However, in the middle of production, Goldwyn had merged with Metro and [[Louis B. Mayer Pictures]] to form Metro-Goldwyn-Mayer. MGM took ''Greed'' out of Stroheim's hands and gave it to Mathis, with orders to cut it even more, which she assigned to a routine cutter, [[Joseph W. Farnham]]. The film was then reduced to 13 reels (2½ hours) long. In the process, many key characters were cut out, resulting in large continuity gaps.<ref>{{Cite book|last=Koszarski|first=Richard|title=The Man You loved to Hate: Erich von Stroheim and Hollywood|publisher=Oxford University Press|year=1983|pages=144–145|isbn=0-19-503239-X}}</ref>

There is speculation on whether Mathis took part in the actual cutting. However, for contractual reasons, her name was listed in the credits as a writer, and it was she who would be blamed for what Stroheim and his fans would call "tampering with his genius".<ref name="Maher"/> In fact, Mathis had worked with Stroheim before and had been fond of his themes, and thus it is thought unlikely she would butcher his film unnecessarily.<ref name="JoH" />

===''Ben-Hur''===
For the original production of ''[[Ben-Hur (1925 film)|Ben Hur]]'' (1925), Mathis fought the studio over the casting and production for many months. It was her idea to film the $1 million script in Italy; the film would eventually come in just under $4 million. When she arrived the original director [[Charles Brabin]], in his words, refused to let her "interfere". The production troubles were numerous, and due to political troubles engulfing Italy at the time, resulted in disputes and delayed permissions. When the sea battle was filmed near Livorno, Italy, many extras had apparently lied about being able to swim. The first attempt to film the chariot race was on a set in Rome, but there were problems with shadows and the racetrack surface. One of the chariots' wheels came apart and the stuntman driving it was thrown in the air and killed.

MGM inherited the production when it took over control of Goldwyn studios; with the film over budget and getting out of control, the studio halted production and relocated the shoot from Italy to California, under the supervision of [[Irving Thalberg]]. All of Brabin's footage was reviewed and considered unusable, and MGM would fire Mathis, Brabin, and stars [[George Walsh]] and [[Gertrude Olmstead]]; Replacing them with director [[Fred Niblo]], screenwriters [[Bess Meredyth]] and [[Carey Wilson (writer)|Carey Wilson]], and stars [[Ramon Novarro]] and [[May McAvoy]].<ref name="Maher"/>

After her return, [[First National Pictures|First National]] hired her as editorial director. She also scripted several successful [[Colleen Moore]] pictures including ''Sally'', ''The Desert Flower'', and ''Irene''. Mathis remained at First National for two years, but left over limitations and signed with [[United Artists]]; with her husband she made one picture for them, ''The Masked Woman''. ''The Magic Flame'' (1927) would be her last picture, and one of her best, due in part to [[Ronald Colman]]'s performance and [[Henry King (director)|Henry King]]'s direction.<ref name="Slater" />

==Personal life==
A short woman with untamed brown hair and a love of Parisian fashion, she was also one of the first "writer-directors"<ref name="Leider. 2003. p.4"/> and laid the groundwork for the later development of screenwriters becoming producers.<ref>{{Cite book|last=Acker|first=Ally |title=Reel Women: Pioneers of the Cinema 1896 to the Present|publisher=Batsford|year=1991|pages=164|isbn=0-7134-6960-9}}</ref> A [[Spiritualism (beliefs)|spiritualist]] with [[mystical]] bents, her scripts featured many heroes with a Christ-like demeanor. A believer in [[reincarnation]], she always wore an [[opal]] ring when she wrote, convinced it brought her ideas.{{sfn|Nelmes|Selbo|2015|pp=822-823}}

Mathis had been romantically linked to [[George Walsh]] and [[Rex Ingram (director)|Rex Ingram]]; however, she returned from Italy engaged to an Italian cinematographer named Silvano Balboni. The couple married on December 20, 1924, at the Mission of St. Cecilia, in [[Riverside, California]].

==Death==
After Valentino's marriage to Rambova ended in 1925, the two reconciled at the premiere of ''Son of the Sheik'' when Valentino spotted Mathis with friends.<ref name="Ellenberger"/> When Valentino unexpectedly died in August 1926, Mathis offered up what she thought would be a temporary solution; she lent him her spot in the family crypt she had purchased in Hollywood Memorial Cemetery (now called the [[Hollywood Forever Cemetery]]). However, when Mathis herself died the following year, the arrangement became permanent.<ref>{{cite web |title=June Mathis {{!}} Hollywood Forever % |url=https://hollywoodforever.com/story/june-mathis/ |website=Hollywood Forever |access-date=April 27, 2020}}</ref>

On July 26, 1927, during the third act of the Broadway show ''[[The Squall]]'' at the [[48th Street Theatre]] while accompanied by her 81-year-old grandmother Emily Hawkes, Mathis suffered a fatal heart attack. Her last words were reportedly, "Mother, I'm dying!" <ref>https://books.google.com/books?id=VjkgAgAAQBAJ&q=june&pg=PA357 mathis death emily hawks&f=false Mathis's mother Virginia Hughes-Mathis had died in 1922.</ref><ref>{{cite news |date=July 27, 1927 |title=June Mathis Dies While at Theatre |url=https://www.nytimes.com/1927/07/27/archives/june-mathis-dies-while-at-theatre-her-scream-mother-im-dying.html |newspaper=The New York Times |access-date=2015-11-23 }}</ref><ref>{{cite news |date=July 28, 1927 |title=June Mathis Heart Victim |url=https://www.nytimes.com/1927/07/28/archives/june-mathis-heart-victim-report-follows-autopsy-on-scenarist.html |newspaper=The New York Times |access-date=2015-11-23 }}</ref>

Her ashes were returned to California: instead of "evicting" Valentino, Mathis' husband, Sylvano Balboni, moved Valentino to the crypt beside hers, sold the remaining crypt to Valentino's family and returned to Italy. Mathis and Valentino repose side by side to this day.{{cn|date=October 2021}}

==Filmography==
{| class="wikitable sortable plainrowheaders"
|+ Film credits of June Mathis
! scope="col"|Year
! scope="col"|Title
! scope="col"|Credit
! scope="col"|Studio/Distributor
! scope="col" class="unsortable" | {{abbr|Ref(s)|Reference(s)}}
|-
!scope="row"|1916
|''[[The Dawn of Love (film)|The Dawn of Love]]''
|Scenario
|[[Rolfe Photoplays]]
|align="center"|<ref>{{cite web |title=The Dawn of Love |url=https://catalog.afi.com/Film/14039-THE-DAWN-OF-LOVE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1916
|''God's Half Acre''
|Scenario
|Rolfe Photoplays
|align="center"|<ref>{{cite web |title=God's Half Acre |url=https://catalog.afi.com/Film/14116-GODS-HALF-ACRE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1916
|''Her Great Price''
|Scenario
|Rolfe Photoplays
|align="center"|<ref>{{cite web |title=Her Great Price |url=https://catalog.afi.com/Film/14145-HER-GREAT-PRICE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1916
|''[[The Sunbeam (1916 film)|The Sunbeam]]''
|Scenario
|Rolfe Photoplays
|align="center"|<ref>{{cite web |title=The Sunbeam |url=https://catalog.afi.com/Film/14431-THE-SUNBEAM?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1916
|''The Upstart''
|Scenario
|Rolfe Photoplays
|align="center"|<ref>{{cite web |title=The Upstart |url=https://catalog.afi.com/Film/16876-THE-UPSTART?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1916
|''[[The Purple Lady]]''
|Scenario
|Rolfe Photoplays
|align="center"|<ref>{{cite web |title=The Purple Lady|url=https://catalog.afi.com/Film/18254-THE-PURPLE-LADY?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[The Call of Her People]]''
|Scenario
|[[Columbia Pictures]]
|align="center"|<ref>{{cite web |title=The Call of Her People|url=https://catalog.afi.com/Film/1894-THE-CALL-OF-HER-PEOPLE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[Threads of Fate (1917 film)|Threads of Fate]]''
|Scenario
|Columbia Pictures
|align="center"|<ref>{{cite web |title=Threads of Fate|url=https://catalog.afi.com/Film/2179-THREADS-OF-FATE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
| ''[[A Wife by Proxy]]'' 
| Scenario
|Columbia Pictures
|align="center"|<ref>{{cite web |title=A Wife by Proxy|url=https://catalog.afi.com/Film/2369-A-WIFE-BY-PROXY?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[Draft 258]]''
|Scenario
|[[Metro-Goldwyn-Mayer|MGM]]
|align="center"|<ref>{{cite web |title=Draft 258|url=https://catalog.afi.com/Film/14525-DRAFT-258?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[Somewhere in America (film)|Somewhere in America]]''
|Scenario
|Rolfe Photoplays
|align="center"|<ref>{{cite web |title=Somewhere in America|url=https://catalog.afi.com/Film/14603-SOMEWHERE-IN-AMERICA?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[His Father's Son]]''
|Scenario
|Rolfe Photoplays
|align="center"|<ref>{{cite web |title=His Father's Son|url=https://catalog.afi.com/Film/14649-HIS-FATHERS-SON?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[The Jury of Fate]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=The Jury of Fate|url=https://catalog.afi.com/Film/14683-THE-JURY-OF-FATE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[The Barricade (1917 film)|The Barricade]]''
|Scenario
|Rolfe Photoplays 
|align="center"|<ref>{{cite web |title=The Barricade|url=https://catalog.afi.com/Film/14733-THE-BARRICADE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
| ''[[The Power of Decision]]''
|Scenario
|Rolfe Photoplays 
|align="center"|<ref>{{cite web |title=The Power of Decision |url=https://catalog.afi.com/Film/14767-THE-POWER-OF-DECISION?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[Red, White and Blue Blood]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Red, White and Blue Blood |url=https://catalog.afi.com/Film/14774-RED-WHITE-AND-BLUE-BLOOD?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[A Magdalene of the Hills ]]''
|Scenario
|Rolfe Photoplays 
|align="center"|<ref>{{cite web |title=A Magdalene of the Hills  |url=https://catalog.afi.com/Film/15710-A-MAGDALENE-OF-THE-HILLS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[The Millionaire's Double]]''
|Story
|Rolfe Photoplays 
|align="center"|<ref>{{cite web |title=The Millionaire's Double |url=https://catalog.afi.com/Film/15769-THE-MILLIONAIRES-DOUBLE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[Miss Robinson Crusoe]]''
|Story
|Rolfe Photoplays 
|align="center"|<ref>{{cite web |title=Miss Robinson Crusoe |url=https://catalog.afi.com/Film/15772-MISS-ROBINSON-CRUSOE?cxt=filmographywebsite=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[The Voice of Conscience (1917 film)|The Voice of Conscience]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Voice of Conscience |url=https://catalog.afi.com/Film/16044-THE-VOICE-OF-CONSCIENCE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[The Trail of the Shadow ]]''
|Scenario
|Rolfe Photoplays 
|align="center"|<ref>{{cite web |title=The Trail of the Shadow |url=https://catalog.afi.com/Film/16064-THE-TRAIL-OF-THE-SHADOW?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[The Beautiful Lie (film)|The Beautiful Lie]]''
|Scenario
|Rolfe Photoplays 
|align="center"|<ref>{{cite web |title=The Beautiful Lie |url=https://catalog.afi.com/Film/16862-THE-BEAUTIFUL-LIE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[Lady Barnacle]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Lady Barnacle |url=https://catalog.afi.com/Film/16956-LADY-BARNACLE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[Blue Jeans (1917 film)|Blue Jeans]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=Blue Jeans |url=https://catalog.afi.com/Film/17012-BLUE-JEANS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1917
|''[[Aladdin's Other Lamp]]''
|Scenario
|Rolfe Photoplays 
|align="center"|<ref>{{cite web |title=Aladdin's Other Lamp|url=https://catalog.afi.com/Film/17142-ALADDINS-OTHER-LAMP?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Toys of Fate]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=Toys of Fate|url=https://catalog.afi.com/Film/2149-TOYS-OF-FATE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The House of Gold]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The House of Gold|url=https://catalog.afi.com/Film/14969-THE-HOUSE-OF-GOLD?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[His Bonded Wife]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=His Bonded Wife|url=https://catalog.afi.com/Film/15007-HIS-BONDED-WIFE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The Legion of Death]]''
|Screenplay and story
|MGM
|align="center"|<ref>{{cite web |title=The Legion of Death|url=https://catalog.afi.com/Film/15015-THE-LEGION-OF-DEATH?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The Silent Woman (film)|The Silent Woman]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Silent Woman|url=https://catalog.afi.com/Film/15171-THE-SILENT-WOMAN?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Social Quicksands]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Social Quicksands|url=https://catalog.afi.com/Film/15177-SOCIAL-QUICKSANDS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[A Successful Adventure]]''
|Story
|MGM
|align="center"|<ref>{{cite web |title=A Successful Adventure|url=https://catalog.afi.com/Film/15192-A-SUCCESSFUL-ADVENTURE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Sylvia on a Spree]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Sylvia on a Spree|url=https://catalog.afi.com/Film/15197-SYLVIA-ON-A-SPREE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[To Hell with the Kaiser!]]''
|Scenario
|Screen Classics, Inc. 
|align="center"|<ref>{{cite web |title=To Hell with the Kaiser|url=https://catalog.afi.com/Film/15216-TO-HELL-WITH-THE-KAISER?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The Winding Trail (1918 film)|The Winding Trail]]''
|Story
|MGM
|align="center"|<ref>{{cite web |title=The Winding Trail|url=https://catalog.afi.com/Film/15254-THE-WINDING-TRAIL?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The Winning of Beatrice]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Winning of Beatrice|url=https://catalog.afi.com/Film/15279-THE-WINNING-OF-BEATRICE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The Brass Check (film)|The Brass Check]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Brass Check|url=https://catalog.afi.com/Film/17034-THE-BRASS-CHECK?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The Claim (1918 film)|The Claim]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Claim|url=https://catalog.afi.com/Film/17049-THE-CLAIM?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Daybreak (1918 film)|Daybreak]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=Daybreak|url=https://catalog.afi.com/Film/17063-DAYBREAK?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Eye for Eye (1918 film)|Eye for Eye]]''
|Adaptation
|[[Alla Nazimova|Nazimova Productions, Inc.]]
|align="center"|<ref>{{cite web |title=Eye for Eye|url=https://catalog.afi.com/Film/17075-EYE-FOR-EYE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The Eyes of Mystery]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=The Eyes of Mystery|url=https://catalog.afi.com/Film/17077-THE-EYES-OF-MYSTERY?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Five Thousand an Hour]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Five Thousand an Hour|url=https://catalog.afi.com/Film/17091-FIVE-THOUSAND-AN-HOUR?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The House of Mirth (1918 film)|The House of Myrth]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The House of Myrth|url=https://catalog.afi.com/Film/17118-THE-HOUSE-OF-MIRTH?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Gay and Festive Claverhouse]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=Gay and Festive Claverhouse |url=https://catalog.afi.com/Film/17144-GAY-AND-FESTIVE-CLAVERHOUSE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Kildare of Storm]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Kildare of Storm |url=https://catalog.afi.com/Film/17147-KILDARE-OF-STORM?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[A Man's World (1918 film)|A Man's World]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=A Man's World|url=https://catalog.afi.com/Film/17166-A-MANS-WORLD?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Secret Strings]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Secret Strings|url=https://catalog.afi.com/Film/17238-SECRET-STRINGS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[Social Hypocrites]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Social Hypocrites|url=https://catalog.afi.com/Film/17248-SOCIAL-HYPOCRITES?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[The Trail to Yesterday]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Trail to Yesterday|url=https://catalog.afi.com/Film/17268-THE-TRAIL-TO-YESTERDAY?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1918
|''[[With Neatness and Dispatch]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=With Neatness and Dispatch|url=https://catalog.afi.com/Film/17300-WITH-NEATNESS-AND-DISPATCH?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[Almost Married (1919 film)|Almost Married]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Almost Married|url=https://catalog.afi.com/Film/15301-ALMOST-MARRIED?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[Johnny-on-the-Spot]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Johnny-on-the-Spot|url=https://catalog.afi.com/Film/15456-JOHNNY-ON-THE-SPOT?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Great Victory]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=The Great Victory|url=https://catalog.afi.com/Film/15492-THE-GREAT-VICTORY-WILSON-OR-THE-KAISER-THE-FALL-OF-THE-HOHENZOLLERNS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Parisian Tigress]]''
|Story
|MGM
|align="center"|<ref>{{cite web |title=The Parisian Tigress|url=https://catalog.afi.com/Film/15528-THE-PARISIAN-TIGRESS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[Some Bride]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Some Bride|url=https://catalog.afi.com/Film/15617-SOME-BRIDE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Amateur Adventuress]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Amateur Adventuress|url=https://catalog.afi.com/Film/17308-THE-AMATEUR-ADVENTURESS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Brat (1919 film)|The Brat]]''
|Scenario
|Nazimova Productions, Inc.
|align="center"|<ref>{{cite web |title=The Brat|url=https://catalog.afi.com/Film/17321-THE-BRAT?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[Blind Man's Eyes]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Blind Man's Eyes|url=https://catalog.afi.com/Film/17337-BLIND-MANS-EYES?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Divorcee (1919 film)|The Divorcee]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Divorcee|url=https://catalog.afi.com/Film/17342-THE-DIVORCEE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Island of Intrigue]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Island of Intrigue|url=https://catalog.afi.com/Film/17396-THE-ISLAND-OF-INTRIGUE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[Out of the Fog (1919 film)|Out of the Fog]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Out of the Fog|url=https://catalog.afi.com/Film/17449-OUT-OF-THE-FOG?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[Fair and Warmer (1919 film)|Fair and Warmer]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=Fair and Warmer|url=https://catalog.afi.com/Film/17453-FAIR-AND-WARMER?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[Lombardi, Ltd.]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=Lombardi, Ltd.|url=https://catalog.afi.com/Film/17454-LOMBARDI-LTD?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Man Who Stayed at Home (1919 film)|The Man Who Stayed at Home]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=The Man Who Stayed at Home|url=https://catalog.afi.com/Film/17457-THE-MAN-WHO-STAYED-AT-HOME?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Microbe]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Microbe|url=https://catalog.afi.com/Film/17464-THE-MICROBE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Red Lantern]]''
|Scenario
|Nazimova Productions, Inc.
|align="center"|<ref>{{cite web |title=The Red Lantern|url=https://catalog.afi.com/Film/17476-THE-RED-LANTERN?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[Satan Junior]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=Satan Junior|url=https://catalog.afi.com/Film/17478-SATAN-JUNIOR?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1919
|''[[The Way of the Strong (1919 film)|The Way of the Strong]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Way of the Strong|url=https://catalog.afi.com/Film/17616-THE-WAY-OF-THE-STRONG?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[Hearts Are Trumps (1920 American film)|Hearts Are Trumps]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Hearts Are Trumps|url=https://catalog.afi.com/Film/17791-HEARTS-ARE-TRUMPS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[Old Lady 31]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=Old Lady 31|url=https://catalog.afi.com/Film/17847-OLD-LADY-31?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[The Right of Way (1920 film)|The Right of Way]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=The Right of Way|url=https://catalog.afi.com/Film/17902-THE-RIGHT-OF-WAY?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[The Price of Redemption]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Price of Redemption|url=https://catalog.afi.com/Film/17923-THE-PRICE-OF-REDEMPTION?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[Polly With a Past (film)|Polly With a Past]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Polly With a Past|url=https://catalog.afi.com/Film/17932-POLLY-WITH-A-PAST?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[The Walk-Offs]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=The Walk-Offs|url=https://catalog.afi.com/Film/17970-THE-WALK-OFFS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[The Willow Tree (1920 film)|The Willow Tree]]''
|Scenario
|Screen Classics Inc.
|align="center"|<ref>{{cite web |title=The Willow Tree|url=https://catalog.afi.com/Film/17984-THE-WILLOW-TREE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[Parlor, Bedroom and Bath (1920 film)|Parlor, Bedroom and Bath]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Parlor, Bedroom and Bath|url=https://catalog.afi.com/Film/18071-PARLOR-BEDROOM-AND-BATH?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1920
|''[[The Saphead]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Saphead|url=https://catalog.afi.com/Film/18277-THE-SAPHEAD?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1921
|''[[Camille (1921 film)|Camille]]''
|Scenario
|Nazimova Productions, Inc.
|align="center"|<ref>{{cite web |title=Camille|url=https://catalog.afi.com/Film/3186-CAMILLE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1921
|''[[The Conquering Power]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=The Conquering Power|url=https://catalog.afi.com/Film/3423-THE-CONQUERING-POWER?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1921
|''[[The Four Horsemen of the Apocalypse (film)|The Four Horsemen of the Apocalypse]]''
|Screenwriter
|MGM
|align="center"|<ref>{{cite web |title=The Four Horsemen of the Apocalypse|url=https://catalog.afi.com/Film/9218-THE-FOUR-HORSEMEN-OF-THE-APOCALYPSE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1921
|''[[The Hole in the Wall (1921 film)|The Hole in the Wall]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=The Hole in the Wall|url=https://catalog.afi.com/Film/9782-THE-HOLE-IN-THE-WALL?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1921
|''[[The Idle Rich (1921 film)|The Idle Rich]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=The Idle Rich|url=https://catalog.afi.com/Film/9881-THE-IDLE-RICH?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1921
|''[[The Man Who (film)|The Man Who]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Man Who|url=https://catalog.afi.com/Film/10602-THE-MAN-WHO?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1921
|''[[A Trip to Paradise (film)|A Trip to Paradise]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=A Trip to Paradise|url=https://catalog.afi.com/Film/12845-A-TRIP-TO-PARADISE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1922
|''[[Blood and Sand (1922 film)|Blood and Sand]]''
|Screenwriter
|[[Famous Players–Lasky]]
|align="center"|<ref>{{cite web |title=Blood and Sand|url=https://catalog.afi.com/Film/2919-BLOOD-AND-SAND?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1922
|''[[The Golden Gift]]''
|Story
|MGM
|align="center"|<ref>{{cite web |title=The Golden Gift|url=https://catalog.afi.com/Film/9435-THE-GOLDEN-GIFT?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1922
|''[[Hate (film)|Hate]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=Hate|url=https://catalog.afi.com/Film/9581-HATE?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1922
|''[[Kisses (1922 film)|Kisses]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Kisses|url=https://catalog.afi.com/Film/10101-KISSES?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1922
|''[[Turn to the Right]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=Turn to the Right|url=https://catalog.afi.com/Film/12885-TURN-TO-THE-RIGHT?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1922
|''[[The Young Rajah]]''
|Scenario
|MGM
|align="center"|<ref>{{cite web |title=The Young Rajah|url=https://catalog.afi.com/Film/13534-THE-YOUNG-RAJAH?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1923
|''[[The Day of Faith]]''
|Adaptation
|[[Goldwyn Pictures]]
|align="center"|<ref>{{cite web |title=The Day of Faith|url=https://catalog.afi.com/Film/3655-THE-DAY-OF-FAITH?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1923
|''[[In the Palace of the King]]''
|Adaptation
|Goldwyn Pictures
|align="center"|<ref>{{cite web |title=In the Palace of the King|url=https://catalog.afi.com/Film/9919-IN-THE-PALACE-OF-THE-KING?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1923
|''[[The Spanish Dancer]]''
|Adaptation
|[[Paramount Pictures]]
|align="center"|<ref>{{cite web |title=The Spanish Dancer|url=https://catalog.afi.com/Film/12321-THE-SPANISH-DANCER?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1923
|''[[Three Wise Fools (1923 film)|Three Wise Fools]]''
|Screenwriter
|Goldwyn Pictures
|align="center"|<ref>{{cite web |title=Three Wise Fools|url=https://catalog.afi.com/Film/12682-THREE-WISE-FOOLS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1924
|''[[Name the Man]]''
|Editorial direction
|Goldwyn Pictures
|align="center"|<ref>{{cite web |title=Name the Man|url=https://catalog.afi.com/Film/10919-NAME-THE-MAN?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1924
|''[[Three Weeks (film)|Three Weeks]]''
|Editorial direction
|Goldwyn Pictures
|align="center"|<ref>{{cite web |title=Three Weeks|url=https://catalog.afi.com/Film/12678-THREE-WEEKS?cxt=filmography|website=catalog.afi.com |access-date=April 27, 2020}}</ref>
|-
!scope="row"|1924
|''[[Wild Oranges]]''
|Editorial direction
|Goldwyn Pictures
|align="center"|<ref>{{cite web |title=Wild Oranges|url=https://catalog.afi.com/Film/13336-WILD-ORANGES?cxt=filmography |website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1925
|''[[Greed (1924 film)|Greed]]''
|Adaptation and dialogue
|MGM<br />Note: Premiered December 4, 1924, but not released until January 26, 1925
|align="center"|<ref>{{cite web |title=Greed|url=https://catalog.afi.com/Film/9506-GREED?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1925
|''[[Ben-Hur (1925 film)|Ben-Hur]]''
|Adaptation
|MGM
|align="center"|<ref>{{cite web |title=Ben Hur|url=https://catalog.afi.com/Film/2811-BEN-HUR?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-

!scope="row"|1925
|''[[Classified (1925 film)|Classified]]''
|Scenario
|Corinne Griffith Productions
|align="center"|<ref>{{cite web |title=Classified|url=https://catalog.afi.com/Film/3331-CLASSIFIED?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1925
|''[[The Desert Flower (film)|The Desert Flower]]''
|Scenario
|[[First National Pictures]]
|align="center"|<ref>{{cite web |title=The Desert Flower|url=https://catalog.afi.com/Film/3687-THE-DESERT-FLOWER?cxt=filmography|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1925
|''[[The Marriage Whirl]]''
|Editorial direction
|Corinne Griffith Productions
|align="center"|<ref>{{cite web |title=The Marriage Whirl|url=https://catalog.afi.com/Film/10661-THE-MARRIAGE-WHIRL?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1925
|''[[Sally (1925 film)|Sally]]''
|Scenario
|First National Pictures
|align="center"|<ref>{{cite web |title=Sally|url=https://catalog.afi.com/Film/11854-SALLY?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1925
|''[[We Moderns]]''
|Writer
|First National Pictures
|align="center"|<ref>{{cite web |title=We Moderns|url=https://catalog.afi.com/Film/13103-WE-MODERNS?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1925
|''[[What Fools Men]]''
|Editorial direction
|First National Pictures
|align="center"|<ref>{{cite web |title=What Fools Men|url=https://catalog.afi.com/Film/13173-WHAT-FOOLS-MEN?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
|-
!scope="row"|1926
|''[[Irene (1926 film)|Irene]]''
|Editorial direction, continuity
|First National Pictures
|align="center"|<ref>{{cite web |title=Irene|url=https://catalog.afi.com/Film/1528-IRENE?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1926
|''[[The Far Cry]]''
|Editorial direction
|First National Pictures
|align="center"|<ref>{{cite web |title=The Far Cry|url=https://catalog.afi.com/Film/8943-THE-FAR-CRY?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1926
|''[[The Girl from Montmartre]]''
|Editorial direction
|First National Pictures
|align="center"|<ref>{{cite web |title=The Girl from Montmartre|url=https://catalog.afi.com/Film/9347-THE-GIRL-FROM-MONTMARTRE?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1926
|''[[The Greater Glory]]''
|Scenario
|First National Pictures
|align="center"|<ref>{{cite web |title=The Greater Glory|url=https://catalog.afi.com/Film/9499-THE-GREATER-GLORY?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1926
|''[[Her Second Chance (1926 film)|Her Second Chance]]''
|Editorial director
|First National Pictures
|align="center"|<ref>{{cite web |title=Her Second Chance|url=https://catalog.afi.com/Film/9694-HER-SECOND-CHANCE?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1926
|''[[An Affair of the Follies]]''
|Scenario
|[[Al Rockett|Al Rockett Productions ]]
|align="center"|<ref>{{cite web |title=An Affair of the Follies|url=https://catalog.afi.com/Film/2507-AN-AFFAIR-OF-THE-FOLLIES?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1927
|''[[The Magic Flame]]''
|Continuity
|Goldwyn Pictures 
|align="center"|<ref>{{cite web |title=The Magic Flame|url=https://catalog.afi.com/Film/10516-THE-MAGIC-FLAME?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
!scope="row"|1927
|''[[The Masked Woman]]''
|Scenario
|First National Pictures
|align="center"|<ref>{{cite web |title=The Masked Woman|url=https://catalog.afi.com/Film/10684-THE-MASKED-WOMAN?cxt=filmography|website=catalog.afi.com|access-date=April 27, 2020}}</ref>
|-
|}

==References==
{{Reflist}}

==Bibliography==
*{{cite book |last1=Barton |first1=Ruth |title=Rex Ingram: Visionary Director of the Silent Screen |date=2014 |publisher=The University Press of Kentucky |isbn=978-0-8131-4711-6 |url=https://muse.jhu.edu/book/35264}}
*  {{Cite book|author=Leider, Emily Wortis |title=Dark lover: the life and death of Rudolph Valentino |publisher=Faber and Faber Inc |location=New York |year=2004 |isbn=0-571-21114-3 }}
* Rambova, Natacha ''Rudolph Valentino: A Wife's Memories of an Icon''. 1921 PVG Publishing. 2009. {{ISBN|978-0-9816440-4-2}}
*  {{Cite web |title=June Mathis: Moving the margins of mainstream |author=Slater, Thomas |url=http://ijh.cgpublisher.com/product/pub.26/prod.755 |date=November 3, 2007 |publisher=Journal of Humanities |access-date=November 6, 2007 |archive-date=February 19, 2008 |archive-url=https://web.archive.org/web/20080219233114/http://ijh.cgpublisher.com/product/pub.26/prod.755 |url-status=dead }}
* {{Cite book|author=Slater, Thomas |title="June Mathis": Dictionary of Literary Biography vol 44, American screenwriters: second series |publisher=Gale Research Co |location=Detroit, Mich |year=1984 |isbn=0-8103-1722-2 |page=246}}
* {{Cite book|author=Slater, Thomas |title=The vision and the struggle: June Mathis's work on Ben-Hur (1922–24). |publisher=Post Script |location=Detroit, Mich |year=2008 }}
* {{Cite book|author=Shulman, Irving |title=Valentino |publisher=Simon & Schuster |location=New York |year=1967 }}
*{{cite book |last1=Nelmes |first1=Jill |last2=Selbo |first2=Jule |title=Women Screenwriters: An International Guide |date=2015 |publisher=Springer |isbn=978-1-137-31237-2 }}

==External links==
{{Portal|Biography}}
{{Commons category}}
* {{IMDb name|0558923}}
* [https://wfpp.cdrs.columbia.edu/pioneer/ccp-june-mathis/ June Mathis] {{Webarchive|url=https://web.archive.org/web/20171224053521/https://wfpp.cdrs.columbia.edu/pioneer/ccp-june-mathis/ |date=December 24, 2017 }} at Women Film Pioneers Project
* [https://archive.org/details/The_Four_Horsemen_of_the_Apocalypse Watch Four Horsemen of the Apocalypse at the Internet Archive]
* [http://www.forever-studios.com/lifestories/lifestory.cfm?Archive_ID=7426&Directory=%2FArchives%2FHollywood Mathis at Forever Network]
* [http://film.guardian.co.uk/Century_Of_Films/Story/0,4135,87539,00.html "Erich von Stroheim: Greed"] The Guardian Unlimited, September 30, 1999
* {{Find a Grave|2060}}

{{Authority control}}

{{DEFAULTSORT:Mathis, June}}
[[Category:20th-century American women writers]]
[[Category:American film studio executives]]
[[Category:American film producers]]
[[Category:American women screenwriters]]
[[Category:American women in film]]
[[Category:1887 births]]
[[Category:1927 deaths]]
[[Category:Burials at Hollywood Forever Cemetery]]
[[Category:Writers from Salt Lake City]]
[[Category:People from Leadville, Colorado]]
[[Category:Screenwriters from Colorado]]
[[Category:American women film producers]]
[[Category:Screenwriters from Utah]]
[[Category:20th-century American screenwriters]]