Problem: Background: Browning was born as Charles Albert Browning, Jr., in Louisville, Kentucky, the second son of Charles Albert and Lydia Browning, and the nephew of baseball star Pete Browning. As a young boy, he put on amateur plays in his backyard. He was fascinated by the circus and carnival life, and at the age of 16 he ran away from his well-to-do family to become a performer. Changing his name to "Tod", he traveled extensively with sideshows, carnivals, and circuses.
Context: 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).
Question: What was Browning's first silent film?
Answer: 1917.

Background: Geronimo (Mescalero-Chiricahua: Goyaale [koja:le] "the one who yawns"; June 16, 1829 - February 17, 1909) was a prominent leader and medicine man from the Bedonkohe band of the Chiricahua Apache tribe.
Context: Geronimo was raised with the traditional religious views of the Bedonkohe. When questioned about his views on life after death, he wrote in his 1905 autobiography, As to the future state, the teachings of our tribe were not specific, that is, we had no definite idea of our relations and surroundings in after life. We believed that there is a life after this one, but no one ever told me as to what part of man lived after death ... We held that the discharge of one's duty would make his future life more pleasant, but whether that future life was worse than this life or better, we did not know, and no one was able to tell us. We hoped that in the future life, family and tribal relations would be resumed. In a way we believed this, but we did not know it. In his later years Geronimo embraced Christianity, and stated Since my life as a prisoner has begun, I have heard the teachings of the white man's religion, and in many respects believe it to be better than the religion of my fathers ... Believing that in a wise way it is good to go to church, and that associating with Christians would improve my character, I have adopted the Christian religion. I believe that the church has helped me much during the short time I have been a member. I am not ashamed to be a Christian, and I am glad to know that the President of the United States is a Christian, for without the help of the Almighty I do not think he could rightly judge in ruling so many people. I have advised all of my people who are not Christians, to study that religion, because it seems to me the best religion in enabling one to live right. He joined the Dutch Reformed Church in 1903, but four years later was expelled for gambling. To the end of his life, he seemed to harbor ambivalent religious feelings, telling the Christian missionaries at a summer camp meeting in 1908 that he wanted to start over, while at the same time telling his tribesmen that he held to the old Apache religion.
Question: What was his religion
Answer:
In his later years Geronimo embraced Christianity,