production, declaring that “Ivanhoe, as a film, will prove epoch-making in the history of cinematography in [Great Britain] and over the whole world.’” Brenon proceeded to continental Europe to film Absinthe (1914) in France and several films in Germany, starring William E. Shay. Neptune’s Daughter (1914): Brenon’s final and most spectacular film for IMP studios was his 1914 Neptune’s Daughter. This Annette Kellerman vehicle, at seven-reels in length and filmed in Bermuda, established both director and actress among the earliest silent film celebrities. Brenon left IMP In 1914 to create his own short-lived production company, Tiffany Film Corporation. Fox: 1915–1916 The following year, Brenon and Annette Kellerman contracted with William Fox’s production company. There, Brenon directed actress Theda Bara in The Two Orphans (1915) and The Kreutzer Sonata (1915). Both Brenon and Bara would have a major impact in elevating the stature of the Fox Company. A Daughter of the Gods (1915): In the summer of 1915, Brenon and leading lady from their IMP collaborations, Annette Kellerman, travelled to Jamaica to make the “elaborate” and “spectacular” A Daughter of the Gods (1916). Brenon's extravagant expenditures filming the picture led to immense cost overruns, outraging producer William Fox. That, and Brenon's emerging celebrity status among movie critics led Fox to seize the footage and edit it himself, excising Brenon from the screen credits. Film historian Richard Koszarski describes the clash between producer and director.: After his failed litigation with Fox, Brenon continued to direct films for various studios, then moved to Paramount where he made some of his finest pictures. Paramount Pictures: 1923–1926 Brenon reached the apogee of his creative powers while at Paramount during the late silent period, emerging as “a craftsman of the highest order” and for his renowned cinematic style.” Two films most characteristic of “the Brenon style” were his adaption of two J. M. Barrie fantasies, the highly theatrical renditions of Peter Pan (1924), starring Betty Bronson and A Kiss for Cinderella (1925). Brenon enlisted the talents of James Wong Howe and J. Roy Hunt to achieve outstanding cinematography and lighting effects. Biographer Charles Higham provides these critiques of the films: Film historian Richard Koszarski offers this appraisal of A Kiss for Cinderella: Perhaps Brenon's most highly successful commercial effort at Paramount was Beau Geste (1926), with actor Ronald Colman. Richard Koszarski observes approvingly that Beau Geste is “notable for its intelligence and controlled sentiment...especially strong in