16 Martin Street was a 1916 American silent Short film directed by Lloyd B. Carleton.

The film was based on the detective story and screen adaptation by Bess Meredyth.

The drama stars Dorothy Davenport, Emory Johnson, and an all-star cast of Universal contract players.

This story tells how a distinguished criminologist with the cooperation of a cabaret singer investigates a local homicide.

In true detective style, the pair develops a series of planned undertakings attempting to snare the dope addicts and unravel the murder motive.

No longer able to afford her musical education, she drops out of school and returns home.

They enter the house and find Browne's wife lying dead on the floor.

[c] He also determines Mr. Browne, and a woman named Audrey Devine share a mysterious link.

Fournier decides he will talk to Devine and see if she can shed any light on the murder.

Between acts, they expected the cabaret performers to share drinks with the paying customers.

The note instructs her to make advances toward Max and persuades him to escort her to his home.

Fournier scrutinizes the coat and finds cocaine decks and a note addressed to "16 Martin Street."

Cleo tells Joe she found they had left the panel door open, and she was merely peeking in.

[8] There was a recurring claim that Carl Laemmle was the longest-running studio chief resisting the production of feature films.

[g] Universal made 91 feature films in 1916, including 44 Bluebirds and 47 Red Feather productions.

[13] The cocainist is much worse than the user of morphine because cocaine produces a kind of dementia which is expressed in a persecutional or suicidal mania.

The reader will notice this movie covered the pamphlet's cocaine warnings of "homicide" and "loss of moral and social sense."

[20] Carleton arrived with impeccable credentials, having directed some 60 films for the likes of Thanhouser, Lubin, Fox, and Selig.

[21] Between March and December 1916, 44-year-old Lloyd Carleton directed 16 movies for Universal, starting with The Yaqui and ending with The Morals of Hilda.

Carleton was given the task by Carl Laemmle to determine if the Davenport-Johnson duo had the desired on-screen chemistry.

In 1916, Carleton directed 13 films pairing Dorothy Davenport and Emory Johnson.

She began as a short story writer for various newspapers, then became an extra at D.W. Griffith's Biograph Studios in New York.

[35] On March 15, 1915,[36] Laemmle opened the world's largest motion picture production facility, Universal City Studios.

[i] As part of Universal's in-house publication The Moving Picture Weekly, a section was devoted to proposing musical selections for specific movies.

[1] In Universal's trade journal magazine, The Moving Picture Weekly a new advertising section was started titled - PUTTING IT OVER.

"In the July 15, 1916 issue of The Moving Picture World, quoted from the section - Comments on the Films - Exclusively by our own Staff:[46] "Dorothy Davenport does pleasing work as the girl who aids the detective.

The story deals with sordid types but is well handled and makes altogether quite a strong offering.

16 MARTIN ST. combines two significant phases of modern life; one is the rise of the science of criminology, and the other the prevalence of a new vice, the "dope" evil.

In this picture, the "movie fan" is given a treat that has long been known to the readers of A. Conan Doyle and Craig Kennedy.

In addition, the cover of metropolitan life is ripped off, and the seamy side is laid bare.