Casting

AI-upscaled photo of Mary Carr, Emory Johnson and Emilie Johnson from 1924

• Mary Carr (née Mary Kennivan) (1874–1973) was born on March 14, 1874, in Germantown, Pennsylvania. She was 50 when she played Gold Star Mother Mary Gains, Tom's wife, and Johnnie's mother.^{[lower-alpha 3]} This was her first role in a Johnson production. Her next performance in a Johnson vehicle would be the 1927 Universal production of The Fourth Commandment, where she played another mother figure. Carr and Walker shared the spotlight in this film, with FBO promoting their roles as a reunion of sorts. The reference alluded to the film Over the Hill to the Poorhouse, an 11-reel motion picture distributed by Fox on September 17, 1920. In this movie, Carr portrayed a destitute mother, while Walker played her son.^[10] One FBO magazine ad for this movie contained the word segment — Together Again for the first time since their never-to-be-forgotten success "Over The Hill."^[11]
  Initially, Carr worked as a schoolteacher but abandoned the profession to become an actor in traveling theater companies. She married fellow actor William Carr and accompanied him on tours with his theater troupe. In the early 1900s, William ventured into film production. He enlisted Mary and their six children to join him in the burgeoning film industry. In 1915, Mary began her career in film, eventually becoming a character actor celebrated for her roles as maternal figures. She appeared in over 140 films between 1915 – 1956.^{[lower-alpha 4]} She was also a close friend of Emilie Johnson.

AI-upscaled still from The Spirit of the USA

Over the Hill to the Poorhouse

• Johnnie Walker (1894–1949) was born on January 7, 1894, in New York City, New York. He was an established actor when the 30 year-old actor played Johnnie Gains, the son of Thomas Gains. This was Walker his fourth appearance in a Johnson production. He previously had featured roles in Johnson's FBO vehicles – In the Name of the Law, The Third Alarm, and The Mailman. This movie would also provide the much-anticipated reunion of Walker with Mary Carr. They had experienced previous success in filming the 1920 9-reel production of Over the Hill to the Poorhouse.
  Walker would appear in a total of five Johnson FBO productions. He played the son of the film's leading father figure in each film. In each of Walker's supporting roles, the character was named Johnnie or a derivative.^{[lower-alpha 5]}
  Walker is five feet eleven inches tall, with black hair and blue eyes. AFI credits the actor with 48 Titles in his Filmography.^[13][14]
  Walker would be featured in Johnson's sixth film for FBO – Life's Greatest Game, released in October 1924. Life's Greatest Game was Walker's fifth and final role in an Emory Johnson production.
• Carl Stockdale (born William Carlton Stockdale) (1874–1953) was born on February 19, 1874, in Worthington, Minnesota. At 50, he was already a well-known character actor when he portrayed Thomas Gains, the father of Johnnie Gains. This film marked Stockdale's sole appearance in a Johnson production. Standing at a height of five feet eleven inches, he possessed brown hair and blue-grey eyes.
  Stockdale started his career as a property master with a repertory theatrical company. He then spent 15 years on stage in repertory theater and vaudeville. In 1913, at the relatively late age of 39, Stockdale ventured into the realm of films, joining the Essanay Studios and securing a minor role in a Broncho Billy's Western. He worked with Essanay for two years before joining the David W. Griffith Corp's film company. As Stockdale's career unfolded, he seamlessly adapted from silent films to talkies. In his last movie, he acted uncredited in Hangmen Also Die!, released in 1943.^[15][16]
• Mark Fenton (1866–1925) was born on November 11, 1866, in Crestline, Ohio. He achieved fame as an American stage performer and motion-picture character actor who appeared in at least 80 films between 1915 and 1925. At 57, he was already an established actor when he portrayed John J. Burrows, a prosperous landowner. This film marked Fenton's only appearance in a Johnson production.
  Fenton began his acting journey in his twenties, launching his career in vaudeville and theatrical productions around the turn of the century. In 1915, at the late age of 49, Fenton started acting in movies. Joining the ranks of other actors who transitioned from the legitimate stage to the silver screen later in life, Fenton was widely regarded as a character actor. Demonstrating his versatility, he appeared in a diverse range of film genres, including action and westerns, accumulating an extensive body of work. Tragically, Fenton's life was cut short by an automobile accident. On July 29, 1925, at the age of 58, he succumbed to complications arising from surgery. ^[17][18]
• William S. Hooser (1836–unk) was born on July 20, 1836, in Litchfield, Illinois.^[19] The octogenarian was 87 when he portrayed the character of Otto Schultz, Gretchen's father. He was an individual of remarkable longevity in the business. During his brief film career, Hooser appeared in The Highest Bid (1916), The Return (1916), and this movie.
  Prior to his venture into films, William S. Hooser had already established himself as a prominent figure in the entertainment industry. His career included engagements with renowned personalities such as P. T. Barnum, Dan Rice and Frank C. Bostock.^[20] Hooser exhibited a diverse range of talents, including dancing, singing, playing the piano, impersonations, and character acting. Furthermore, he was known for his ability to perform mental and psychic demonstrations, adding another intriguing dimension to his repertoire.
• Gloria Grey (née Maria Dragomanovich)(1909–1947) was born on October 23, 1909, in Portland, Oregon.^[21] She was 14 when she played Gretchen Schultz, the daughter of German-born Otto Schultz. Gretchen is the woman whom Johnnie Gains fancied before joining the salvation army and heading off to war. Since she portrayed the daughter of a German character, she injected a paradoxical element into the film, as both brothers willingly enlisted to combat the Germans during World War I. This film was her third credited movie role and her only appearance in a Johnson production. She would blossom into a screen actress and director.
  Before launching her film career in 1923, Grey showcased her talent in vaudeville. Besides making movies, she became one of the WAMPAS Baby Stars in 1924 along with Clara Bow.^[22] Her career was spent making 33 films during the 1920s in Hollywood, and five Spanish-language films made in Argentina during World War II. Grey was petite, standing at 5'2" and weighing 115 pounds. Her distinctive features included beautiful blonde hair and blue eyes.
• Rosemary Cooper (1898–1961) was born on January 1, 1898, in Lewiston, Idaho. She was 26 when she played the villainess Zelda Burrows, the daughter of John Burrows and the woman who married Silas Gains. She made her screen debut in the Johnson production of The Mailman.^[23] Notably, this was Cooper's third film and her final appearance in a Johnson film.
  Rosemary Cooper had spent a couple of years with various stock companies before making her screen debut in 1923. AFI credits her with making 15 silent movies in the twenties.^[24] However, with the advent of sound in films, Cooper decided to step away from the industry. Rosemary Cooper stood at a height of 5'4" and weighed 125 pounds. She possessed auburn hair and brown eyes^[23][25]
• David Kirby (1880–1954) (1880–1954) was born on July 16, 1880, in St. Louis, Missouri. He was an prominent actor when the 43 year-old played the villainous Jim Fuller. Like his previous outing in The West~Bound Limited, Kirby is once again cast as a heavy along with Rosemary Cooper. Throughout his collaboration with Emory Johnson, he appeared in a total of six of Johnson's productions, making him the actor with the highest number of appearances in Johnson's films.
  Physically, Kirby stood at a height of five feet eleven inches, possessing brown hair and eyes. AFI credits the actor/director with 33 Titles in Filmography.^[26][27]
• Cuyler Supplee (1894–1944) was born on February 13, 1894, in Germantown, Pennsylvania. He was 30 when he played Silas Gains, the oldest son in the Gains Family. His next appearance in a Johnson production would be FBO's The Last Edition, released in November 1925, and his last would be Johnson's The Lone Eagle, released in August 1927. He was an actor and author. According to the American Film Institute, his brief acting career spanned 12 features from 1922 through 1928. Supplee's roles were all character parts.^[28][29]
• Dicky Brandon (née Richard Ellison Brandon) (1919 – 2010) ) was born on March 30, 1919, in Toledo, Ohio. He was 5 years old when he played the role of Little Johnnie Gains. This was his first role in a movie. Life's Greatest Game, released in October 1924, would mark his final appearance in a Johnson production.
  He belonged to the vast pool of child actors in the bustling child actor market of the American film industry. His career was brief, and he only made a few movies in his mid-twenties. This movie is one of his six listed on AFI.^[30]
• Newton House (1911–1987) was born on November 1, 1911, in Holly, Colorado. He was 12 when he played a younger version of Silas Gains before he reached adulthood. This was his third role in movies, his 2nd credited role, and his 2nd feature film. He was one of six children born to actor and stuntman Jack House (1887-1963). Many of Newton's siblings also entered the acting field, including brothers Don and Jimmy. By the time Newton turned 15, his aptitude for horsemanship became evident as he amassed 112 trophies for his exceptional skill in trick and fancy riding. AFI shows him playing supporting character roles between 1924 - 1936. He successfully transitioned into talkies, acting in several films between 1932 and 1936. AFI also shows him getting credit as a makeup artist from 1939 to 1945.^[31][32]
• Richard (Dick) Morris (1862–1924) was born on January 30, 1862, in Charlestown, Massachusetts. The accomplished actor was 62 years-old actor when played Grandpa Gains. Morris had previously acted in In the Name of the Law and The Third Alarm. This was his final appearance in a Johnson film because of his unfortunate death in October 1924.^[33]
  Morris' educational journey included an immersive experience abroad, where he dedicated three years to studying grand opera. He later embarked on a professional career as an opera singer, touring America for two seasons and spending three years in London singing opera. In September 1909, he joined the Lubin organization and made his first movie appearance in 1912 when he was 50.^[34] Throughout his career, and like most men entering movies at a late age, he played character roles and heavies.

Director

This film was directed by Emory Johnson, a former actor who transitioned to directing. His acting journey began in 1912, starting as an extra in early Broncho Billy Westerns. From 1913 to 1922, Johnson appeared in 73 movies for studios like Essanay, Universal, Pathé, and Goldwyn, before FBO allowed him to direct his first film. In 1921, he felt that the time was ripe for him to take the reins of filmmaking.

At 30, Johnson directed this film as part of his eight-picture contract with FBO and marked his fifth collaboration with the studio. Before this, his four FBO films—In the Name of the Law, The Third Alarm, The West~Bound Limited and The Mailman—had achieved financial success.

During his tenure at FBO, Johnson earned several titles, such as the Master of Melodrama, King of Exploitation, and Hero of the Working Class. His films encompassed various genres, including melodramas, ^{[lower-alpha 6]} and he continued to flourish as an independent director. Johnson's success stemmed from his ability to create epic films and commercially viable movies that resonated with subjects close to his heart and his mother's.

During his career, Emory Johnson directed thirteen films - eleven silents and two Talkies.

Themes

Love, the greatest of human emotions, is once again the central theme^{[lower-alpha 7]} of this Emory Johnson's Melodrama. In his previous four productions, Johnson's emphasized the deep connection between a father and son, showcasing a prominent father figure, a nurturing mother figure, a devoted son, a captivating female lead, and a few child actors. Within the tapestry of these specials, Johnson masterfully intertwines courage, dedication, a sense of responsibility, the importance of family, high moral principles, loyalty, and selfless acts of sacrifice. This approach to creating films, resonated well with audiences, resulting in significant success at the box office. These films were also fitting of the new era, where movie fans sought more family-oriented cinema, action films, and films with intelligent plots.

In a departure from his previous narratives, this storyline emphasizes the profound bond between a mother and her son. By incorporating the theme of motherhood, it provided a contrasting element to balance the intense war scenes depicted in the movie. The film also portrayed one of the most devastating tragedies a mother can face — the shattering loss of a son.^[38][39]

Screenplay

Emilie and Emory in 1923

Emilie Johnson was 56 years old when she wrote the story and the screen adaptation for this film. The Spirit of The U.S.A. was the fifth film in the 8-picture FBO contract.^[41] The idealism of former President Woodrow Wilson (Wilson died on February 3, 1924) served as an inspiration for Emilie Johnson.^{[lower-alpha 8]}

Emilie Johnson (1867–1941) was born on June 3, 1867, in Gothenburg, Västra Götaland, Sweden. After emigrating to America, she married Alfred Jönsson. Their only son was born in 1894 – actor, director and writer Alfred Emory Johnson.^[43]

In the 1920s, Emilie and Emory Johnson developed one of the unique collaborations in the annals of Hollywood. The decade saw the mother-son team develop into the most financially successful directing and writing team in motion picture history. She wrote most of the stories and screenplays her son used for his career in directing melodramas. Emilie Johnson wrote stories about lunch pail characters living paycheck-to-paycheck like law enforcement officers, firefighters, mail carriers, railroad engineers, patriots, baseball players, and newspaper press operators.^{[lower-alpha 9]}

Emilie's conviction in the cinematic potential of her human-interest stories was matched by her son's ability to bring them to life on the silver screen in grand, sweeping melodramas. The Johnsons collaborated closely, working alongside each other during the pre-production phase and continuing their partnership on set once filming commenced. This extraordinary creative alliance flourished throughout the entire decade, albeit gradually fading in the early 1930s.

Interiors

Interiors for this movie were filmed at the FBO studios located at 780 Gower Street in Hollywood.^[45][46]

An article in the February 9, 1924, issue of article in Camera! stated, "one evening's work was done at the lobby at the Manx Hotel" in San Francisco.^[47]

Exteriors

According to the American Film Institute catalog, the exteriors for this picture were shot in:

• San Francisco, California — is the location of the Presidio military post. The camp was used to recreate two famous battles of World War I. The United States Government gave permission for Johnson to use "over a thousand American soldiers, more than six hundred cavalry horses and the full equipment of modern warfare including tanks, motor lorries, aeroplanes, and hundreds of big guns." ^[48]
• Chatsworth California — An article in the March 15, 1924, issue of Exhibitors Herald announced: "One of the biggest dam break scenes ever put in film is reported to be a feature of Emory Johnson's next production for Film Booking Offices ...The dam break scenes were filmed in Chatsworth."^[49]

Schedule

This timetable is a detailed outline of the shooting schedule, editing process, and eventual release of this picture. The schedule was constructed by incorporating dates sourced from Camera! "Pulse of the Studios" and other trade journals. This film start shooting in December 1923 and was "In the Can" April 1924.

The timetable shows the first week of shooting under the auspices of R—C Studios located on Melrose and 780 Gower. Starting with the 6th week of shooting, the studio changes to F.B.O.Studios at the same location.

The processing stage displayed in Camera! used the following entries for this film:

Working title

During the production phase, films need a reference name to identify the project, often called a Alternate or Working title. Often, the working title becomes the official release title of the film. There are two main reasons for employing working titles:

• When an official title has not been determined: Sometimes, during the early stages of production, the filmmakers have not finalized the title for the film. In such cases, a working title is assigned temporarily to provide a recognizable identifier for the project.
• Disguising the project's true nature: Sometimes, a non-descriptive working title is chosen to conceal the actual reason for creating the movie. This strategy prevents speculation or leaks concerning the film's content or plot.

This particular picture underwent multiple name changes.

Music

During the era of silent movies, the presence of musical accompaniment varied from theater to theater. Unlike modern films with consistent scores, silent movies did not have accompanying music that traveled with the film. The provision of musical accompaniment depended on the individual theater. Some larger theaters boasted full orchestras, while smaller venues relied on pianos or organs to provide a musical backdrop. As previously mentioned, the central theme of the film revolved around the profound love shared between a mother and her son. In one of its various title iterations, the movie was named, Honor Your Mother. It follows, one of the popular choices for the musical background would be a mother song.

In the book – Music of the First World War, the author points out "Everyone loves and cherishes their mom. And there were many "Mother" songs during the early years of the 20th century  ..."That Wonderful Mother of Mine" and "Little Mother of Mine" were published in 1918." ^[68]

The song That Wonderful Mother of Mine was copyrighted in 1918 with music by Walter Goodwin and lyrics by Clyde Hager. Walter Goodwin later published his music with the title, "Theme Song and Melody for Emory Johnson's Mighty Motion Picture "The Spirit of the U.S.A." with Mary Carr and Johnnie Walker."^[69] A theater Maestro in a large theater in California selected the hauntingly beautiful Songs My Mother Taught Me by Antonín Dvořák along with other scores.^[70]

All wars seem to produce their sets of favorite songs and World War One was no different. We also see songs published at the conclusion of World War One with the title of The spirit of the U.S.A. including:

• The spirit of the U.S.A. a service song by N. Bryan published in 1918.^[71]
• The spirit of the U.S.A. by E. Edouard published in 1918.^[72]
• The Spirit of the U.S.A. by Ronald Buck^[73]

Studios

In 1922, the Robertson-Cole Distributing Corporation reorganized and rebranded itself as FBO. As part of this change, FBO secured land at the intersection of Melrose Avenue and Gower Street in Los Angeles. After purchasing this lot, FBO constructed administration offices to support day-to-day operations. They also built film stages to facilitate shooting interior scenes for motion pictures.^[45]

Then, FBO purchased 460 acres of land in Santa Monica, which became known as the "R-C Ranch." The outdoor locale was a picturesque setting for various exterior filming requirements.^[45]

Exhibitor advertising

AI-upscaled news photo of the march down Broadway

AI-upscaled new photo of an advertising stunt in Indiana

Example campaign book

Critical response

• Upon its world premiere in New York City, the film received one less-than-flattering review in the May 21, 1924, issue of The New York Times.

  "This is not a production suited to the heart of New York . . It may possibly have an appeal and dull provincial points . . .Tombstone, Arizona might like it for one show. In fact, the distinct feature of this effort is that it is a cure for insomnia, with a title to attract the persons to a place where is being shown. So far as we are concerned, this picture makes an afternoon seem like a week. This photographer has done his bit, but hokum drowned out all interest and makes the whole affair like a disappointing Circus sideshow."^[87]

• In the May 31, 1924, issue of the Moving Picture World, Reviewer C. S. Sewell observed:

  "Emory Johnson is a producer who works on the theory that a majority of patrons want heart-interest melodrama that strikes home, built around characters and incidents of every-day life with which we are all familiar. His newest picture of this type for F.B.O. is The Spirit of the U. S. A. and he has exemplified the title in a story of the world war in the person of a lad who embodies the best ideals of American manhood. . . is a picture that the highbrows will probably frown on as filled with theatrical hokum; nevertheless, we believe it is a picture that the masses will enjoy, one that will get under the skin of a large number of patrons and which will appeal to lovers of honest heart-interest melodrama."^[88]

Audience response

FBO was a film production and distribution company that had a strong focus on catering to small-town venues. They served this market melodramas, Western action pictures, and comedic shorts.^[89] Unlike major Hollywood studios, FBO owned no movie theaters and depended on movie house proprietors renting their films. Similar to other independent studios, FBO's financial success was intricately tied to the willingness of these movie house owners to rent their films, as it was through these rentals that FBO could generate profits.

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.

The film received a positive reception from the audience, especially in the small towns that constituted FBO's primary target audience. While the response from larger venues was not as enthusiastic, they were neither disappointed nor displeased with the attendance. These are the brief published observations from movie house owners.

• L. E. Gray, Met Theatre  Drayton, North Dakota, population 637^[90]

  This is absolutely the best picture I have played for the last three years. Mary Carr is the most mature actor I have seen, and it's natural and the kind you might see in almost any modern home at some time in their lives. I was the first to play this in North Dakota, and I can safely recommend it to any exhibitor. Play it. Brother; it's good! Eight reels.

• Cragin & Pike, Majestic Theatre  Las Vegas, Nevada, population 2,304^[91]

One of the poorest pictures we have ever shown and our patrons have been telling us so ever since we used it. The story is absolute drivel, and the war scenes are only hashes, nothing like as claimed in the press book. Our advice is to lay off this picture at any price. We dislike to knock, but when something like this is put over we feel it our duty to let brother exhibitors know our opinion.

• Unknown, Moon Theatre  Omaha, Nebraska, population 191,061^[92]

  The highbrow picture fans will probably claim that the production is filled with Hokum. Without question, there is a great deal of Hokum, but the work has been conceived with sincerity. We believe that it will appeal to those who are keen about heart interest melodramas.

• Lastly, showing a review from New York City's The Evening World dated May 21, 1924, and quoted in the May 1924 issue of The Film Daily:^[93]

  It is another one of those mother pictures. But when Mary Carr plays the mother, and Johnny Walker plays the son, there is bound to be a lot of good acting and barrels of tears.