input: Word of Rasputin's activity and charisma began to spread in Siberia during the early 1900s. Sometime between 1902 and 1904, he travelled to the city of Kazan on the Volga river, where he acquired a reputation as a wise and perceptive starets, or holy man, who could help people resolve their spiritual crises and anxieties. Despite rumors that Rasputin was having sex with some of his female followers, he won over the father superior of the Seven Lakes Monastery outside Kazan, as well as a local church officials Archimandrite Andrei and Bishop Chrysthanos, who gave him a letter of recommendation to Bishop Sergei, the rector of the St. Petersburg Theological Seminary at the Alexander Nevsky Monastery, and arranged for him to travel to St. Petersburg, either in 1903 or in the winter of 1904-1905. Upon meeting Sergei at the Nevsky Monastery, Rasputin was introduced to a number of different church leaders, including Archimandrite Feofan, who was the inspector of the theological seminary, was well-connected in St. Petersburg society, and later served as confessor to the Tsar and his wife. Feofan was so impressed with Rasputin that he invited him to stay in his home, and became one of Rasputin's most important and influential friends in St. Petersburg. According to Joseph T. Fuhrmann, Rasputin stayed in St. Petersburg for only a few months on his first visit, and returned to Prokovskoye in the fall of 1903. Historian Douglas Smith, however, argues that it is impossible to know whether Rasputin stayed in St. Petersburg or returned to Prokovskoye at some point between his first arrival there and 1905. Regardless, by 1905 Rasputin had formed friendships with several members of the aristocracy, including the "Black Princesses," Militsa and Anatasia of Montenegro, who had married the Tsar's cousins (Grand Duke Peter Nikolaevich and Grand Duke Nikolai Nikolaevich), and were instrumental in introducing Rasputin to the Tsar and his family. Rasputin first met the Tsar on November 1, 1905, at the Peterhof Palace. The tsar recorded the event in his diary, writing that he and Alexandra had "made the acquaintance of a man of God - Grigory, from Tobolsk province." Rasputin would not meet the Tsar and his wife again for some months: he returned to Prokovskoye shortly after their first meeting, and did not return to St. Petersburg until July 1906. On his return, Rasputin sent Nicholas a telegram asking to present the tsar with an icon of Simeon of Verkhoturye. He met with Nicholas and Alexandra on July 18, and again in October, when he first met Nicholas and Alexandra's children. Joseph Fuhrmann has speculated that it was in October that Rasputin was first asked to pray for the health of Alexei. By December 1906, Rasputin had become close enough to the royal family to ask a special favor of the Tsar - that he be permitted to change his surname to Rasputin-Novyi (Rasputin-New). Nicholas granted the request and the name change was speedily processed, suggesting that the Tsar viewed - and treated - Rasputin favorably at that time.

Answer this question "What was the rise to prominence?"
output: Word of Rasputin's activity and charisma began to spread in Siberia during the early 1900s. Sometime between 1902 and 1904, he travelled to the city of Kazan

input: Browning's feature film debut was Jim Bludso (1917), about a riverboat captain who sacrifices himself to save his passengers from a fire. It was well received. Browning moved back to New York in 1917. He directed two films for Metro Studios, Peggy, the Will O' the Wisp and The Jury of Fate. Both starred Mabel Taliaferro, the latter in a dual role achieved with double exposure techniques that were groundbreaking for the time. He moved back to California in 1918 and produced two more films for Metro, The Eyes of Mystery and Revenge. In the spring of 1918 he left Metro and joined Bluebird Productions, a subsidiary of Universal Pictures, where he met Irving Thalberg. Thalberg paired Browning with Lon Chaney for the first time for the film The Wicked Darling (1919), a melodrama in which Chaney played a thief who forces a poor girl (Priscilla Dean) from the slums into a life of crime and possibly prostitution. Browning and Chaney would ultimately make ten films together over the next decade. The death of his father sent Browning into a depression that led to alcoholism. He was laid off by Universal and his wife left him. However, he recovered, reconciled with his wife, and got a one-picture contract with Goldwyn Pictures. The film he produced for Goldwyn, The Day of Faith, was a moderate success, putting his career back on track. Thalberg reunited Browning with Lon Chaney for The Unholy Three (1925), the story of three circus performers who concoct a scheme to use disguises to con and steal jewels from rich people. Browning's circus experience shows in his sympathetic portrayal of the antiheroes. The film was a resounding success, so much so that it was later remade in 1930 as Lon Chaney's first (and only) talkie shortly before his death later that same year. Browning and Chaney embarked on a series of popular collaborations, including The Blackbird and The Road to Mandalay. The Unknown (1927), featuring Chaney as an armless knife thrower and Joan Crawford as his scantily clad carnival girl obsession, was originally titled Alonzo the Armless and could be considered a precursor to Freaks in that it concerns a love triangle involving a circus freak, a beauty, and a strongman. London After Midnight (1927) was Browning's first foray into the vampire genre and is a highly sought-after lost film which starred Chaney, Conrad Nagel, and Marceline Day. The last known print of London After Midnight was destroyed in an MGM studio fire in 1967. In 2002, a photographic reconstruction of London After Midnight was produced by Rick Schmidlin for Turner Classic Movies. Browning and Chaney's final collaboration was Where East is East (1929), of which only incomplete prints have survived. Browning's first talkie was The Thirteenth Chair (1929), which was also released as a silent and featured Bela Lugosi, who had a leading part as the uncanny inspector, Delzante, solving the mystery with the aid of the spirit medium. This film was directed shortly after Browning's vacation trip to Germany (arriving in the Port of New York, November 12, 1929).

Answer this question "What other studios did he work for?"
output:
he left Metro and joined Bluebird Productions, a subsidiary of Universal Pictures, where he met Irving Thalberg.