Argentine silent cinema, was shot in Hollywood and distributed in the United States by FBO as The Charge of the Gauchos. One of its two cinematographers was Nicholas Musuraca, who established his career at Film Booking Offices. With RKO, Musuraca would become one of Hollywood's most respected cinematographers. At the age of twenty-five, King Vidor insisted on casting then little-known ZaSu Pitts as the lead in Better Times; he directed two more of her R-C/Brentwood films, both starring his wife, Florence Vidor. Louis J. Gasnier, responsible for the blockbuster 1914 serial The Perils of Pauline, directed several films for the company—from Good Women (1921) to The Call of Home (1922)—during its Robertson-Cole days. The best-known director to work regularly under the FBO brand was Ralph Ince, younger brother of celebrated filmmaker Thomas H. Ince. Pulling double duty on occasion, Ralph Ince starred in five of the sixteen films he made for the studio between 1925 and 1928. One production in which he served in both capacities was particularly well received: Chicago After Midnight (1928) was described by the New York Times as an "unusually well-acted and adroitly directed underworld story". After The Mistress of Shenstone, Henry King directed two more R-C films with Pauline Frederick, also in 1921: Salvage and The Sting of the Lash. Tod Browning directed two Gothic Pictures specials in 1924 starring Evelyn Brent: The Dangerous Flirt and Silk Stocking Sal. In 1921 and 1922 alone, William Seiter directed eight R-C/FBO releases, some produced directly for the studio, others independently; in 1924 he made two additional FBO releases for Palmer Photoplay, both featuring Madge Bellamy. Between 1922 and 1926, Emory Johnson produced and directed eight films for FBO. Historian William K. Everson has pointed to Seiter and Johnson as two of the overlooked directorial talents of the silent era. Author and naturalist Gene Stratton-Porter set up her own production company to film screen adaptations of her work, a perhaps unprecedented venture for a writer. FBO handled four releases from Gene Stratton-Porter Productions—A Girl of the Limberlost (1924), The Keeper of the Bees (1925), Laddie (1926), and The Magic Garden (1927)—and was itself producer of record for The Harvester (1927) and Freckles (1928). All six were directed by Stratton-Porter's son-in-law, James Leo Meehan. All six were hits. All are considered lost. In-house, Frances Marion, who would win two writing Oscars in the 1930s, created the stories for seven