¹ U.S. Commissioner of Immigration Frederic C. Howe claimed Enrico Caruso sang at Ellis Island on Italian Day. See Howe, The Confessions of a Reformer (New York, 1925), 257Google Scholar. Also see E. Miller, Kenneth, From Progressive to New Dealer: Frederic C. Howe and American Liberalism (University Park, 2010)Google Scholar, 214n3; Moreno, Barry, Ellis Island (Charleston, SC, 2003), 79Google Scholar; Chermayeff, Ivan, Wasserman, Fred, J. Shapiro, Mary, Ellis Island: An Illustrated History of the Immigrant Experience (New York, 1991), 156Google Scholar. Skeptical accounts can be found in Peter Bradshaw, “Review of The Immigrant,” The Guardian, May 24, 2013, www.theguardian.com/film/2013/may/24/the-immigrant-cannes-2013-review(accessed Jan. 20, 2015); and Loren King, “The Reel Thing,” Provincetown Banner, June 15, 2014, provincetown.wickedlocal.com/article/20140610/News/140619492#sthash.LRqp5hKh.dpuf (accessed Jan. 20, 2015). A more accurate critique is that Caruso gave his last concert on Dec. 24, 1920, so he would not have been performing in 1921.

² This and related information below can be found in The Weinstein Company, The Immigrant: Production Notes (2014), available at www.twcpublicity.com/downloads/production/the_immigrant_production_notes.pdf (accessed Jan. 20, 2015).

³ Gilfoyle, Timothy, City of Eros: New York City, Prostitution and the Commercialization of Sex, 1790–1920 (New York, 1992), 262–67Google Scholar.