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1. 9, No.
THE OiyiSN !
LlCATION OFFICE, |
Moving
At*
"Jus* */ie Machine Easiest
THE FOLLC
"Simplex Office," 23 East
Gentlemen:
Since we first expk Musee, we have used ma^ as a consequence, we have 1 'ntry. The new "Sim]
the last three months
Operators
23 EA£
THE MOVING PICTURE W,ORLD
e American film Mfg. Co. Chicago
■
"When you think of WESTERN— think of
Flying A Cowboy Films"
RELEASE OF MONDAY, JULY 10th
"Cupid in Chaps"
ii**"*^
Scene from "CUPID 'IN CHAPS:
A "Flying A" Cow- boy Comedy abound- ing in roars of laugh- ter and wholesome enjoyment.
Scene from "CUPID IN CHAPS."
§ Scene from
"THE OUTLAW'S TRAIL.'
COMING
RELEASE OF THURSDAY, JULY 13th
"The Out- law'sTrail"
A Western Feature Drama that is un- usual. Unusual in worth, appeal and interest.
I
Scene from "THE OUTLAW'S TRAIL."
COMING
COMING
THE GREATEST COWBOY FEATURE OF THEM ALL
"THE RANCHMAN'S NERVE"
Release of Monday, July t7th THE GREATEST COWBOY COMEDY OF THEM ALL
"WHEN EAST COMES WEST"
Release of Thursday, July 20th
Mean Film Manufacturing Go, rk,F,oorcS*co
^
V
THE MOVING PICTURE WORLD
There's Lot of Good in the Worst of Us!
IT NEVER REALLY PAYS T< ) L< >SE FAITH IX A MAN. THAT THE BREAD WE CAST UPON THE WATERS C< >ME BACK T( ) US, THAT GENEROSITY IN HUMANITY IS REPAID WITH INTEREST SOME- TIME OR OTHER, IS THE PICTOR- IAL SERM( JN IN OUR RELEASE OF
THURSDAY, JULY 13th
THE VAGABOND
A pathetic story of how a vagabond saved the life of his benefactor at the sacrifice of his own. It will give you a broader view of life and us humans! What else an we say than that it's a RCX.
Thm Vagabond
MX Motion Picture Mfg. Co.
57 3-9 Eleventh Ave. New York City
Sales Company knows that R6X is the best of the best of them.
We Challenge the World
THERE IS iNO BETTER ASSORTMENT OF DRA- MATIC, COMEDY, EDU- CATION AL and WESTERN MOVING PICTURES in the WORLD THAN THE FOL- LOWING TWENTY -SEV- EN WEEKLY RELEASES
MONDA Y Imp Eclair Yankee American Champion
TUESDA Y Thanhouser bison Powers
WEDNESDA Y Champion Solax Reliance Ambrosio Nestor
THURSDAY Imp American Uaia Rex
FRIDA Y Bison Solax Lux Thanhouser Yankee
SATURDAY Powers Itala Gt. Northern Reliance Nestor
LOOK THEM OVER
Every manufacturer among them is a drawing card to all exhibitors.
If you are not showing any of this Pro- gram in your Theater at the present time write us at once and we will put you in touch with a live Exchange nearest to you, and then watch your Box Office receipts soar upwards.
Boys, If s the Only Program to Run
TRY IT
AND BE CONVINCED
MOTION
PICTURE DISTRIBUTINC
& SALES CO.
Ill East 14th Street, NEW YOR
THE MOVING PICTURE WORLD
BIOGRAPH FILMS
Trade Mark
SCENE FROM "THE JEALOUS HUSBAND*
Released July 13th, 1911
"BOBBY, THE COWARD"
A Story of the Streets of New York
The little family consisted of the old grandfather, Bobby and his sister, and depended solely upon the efforts of Bobby for sustenance. At the opening of our story Bobby being out of work, starts out to look for it, and encountering a couple of corner loafers, is insulted, which insult he failing to resent brands him a coward in the eyes of his sweetheart who witnessed the episode. Later on, when the' safety of the little family is at stake, Bobby becomes their heroic protector, proving to his sweetheart that he is not such a coward after all.
APPROXIMATE LENGTH, 998 FEET
Released July 10th, 1911
"THE JEALOUS HUSBAND"
A Truant Hubby gets his Just Deserts
He trumps up a scheme of failing health in order to get away on a fishing trip with the boys. During his sojourn at the fishing shore, his mother is taken seriously ill, and his wife, upon seeking the doctor, finds him also at the seashore, to which she repairs, bringing him back with her in her machine. The husband seeing the doctor and his wife speeding along the road, is thrown into a fury of jealousy and induces for himself sufficient trouble to be more truthful in the future.
APPROXIMATE LENGTH, 998 FEET
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111 |
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1 JHi |
Jk |
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A "* W |
I^Law bbbbh «^ |
SCENE FROM "BOBBY, THE COWARD'
BIOGRAPH SUBJECTS
Released July 17th, 1911
THE INDIAN BROTHERS
Dramatic. Approximate Length, 996 Feet
Released July 20th, 1911
Jinks Joins the Temperance Club The Ghost
Comedy. Approximate Length, 516 Feet Comedy. Approximate Length, 481 Feet
RELEASE DAYS OF BIOGRAPH SUBJECTS, MONDAY AND THURSDAY Exhibitors, get on our Mail List for Descriptive Circular
BIOGRAPH COMPANY,
Licensees of the MOTION PICTURE PATENTS CO. 11 East 14th Street, New York City
GEORGE KLEINE, Selling Agent for Chicago, 166 State Street. Chleago, III.
\
THE MOVING PICTURE W< >RLD
LUBIN FILMS
Released Thursday, July 13 Split Reel
THE LOST HORSE
Sam, the stable boy, might have become a captain of industry if he hadn't been caught. Funny ! Length about 600 feet.
MR. INQUISITIVE
He tried to investigate all sorts of things from steam shovels to milk cans. Everywhere he got into trouble. A continuous roar. Length about 400 feet.
3 LUBIN REELS A WEEK
J1L
Increased demand for Lubin photoplays has made necessary the release of three each week instead of two. Beginning July 1, Lubin's are releasing a genuine Western, a snappy Comedy and a high-class Drama each week — Monday, Thursday and Saturday.
onma
-Mi'
Released Saturday, July 15
Length about 1,000 feet
GOOD FOR EVIL
A novel feature of this dandy Western is that the heroine marries BOTH the bad and the good lover. Strange and exciting events mark every scene and the play comes to a gloriously happy end. Be sure to get it.
Released Monday, July 17
Length about 1,000 feet
ALICE'S SACRIFICE
Very powerful love interest throbs through the plot of this story. The elder of two sisters steps aside when she sees her former lover has learned to love her younger sister. Handsomely presented.
LUBIN MANUFACTURING COMPANY
Model New Studios, 20th and Indiana Avenue, Philadelphia, Pa.
Chicago: 22 Fifth Avenue
London: 45 Gerrard St. W.
Berlin: 35 Friedrich Str.
THE MOVING PICTURE WORLD
PATHB FRERES
FILMS
Be A Licensed Exhibitor
and share in the
30 REELS
ISSUED EVERY WEEK BY THE BEST FILM MANUFACTURERS IN AMERICA
Among these 30 Reels there are
5 RELEASED BY PATHE
That's Why the Service is So Good WATCH NEXT WEEK FOR
9
"The Sheriffs Punishment"
A GREAT WESTERN DRAMA
and
"As Fate Decreed"
ANOTHER GREAT AMERICAN FILM
THE MOVING PICTURE WORLD
aThe Old Folks' Sacrif ice" {p
A Domestic Drama; Tuesday, July 11th
An undeniable life portrayal of one of life's truisms. Retentive in its grasp upon our interest and the
lesson it teaches.
"In the Arctic Night"
A Drama; Wednesday, July 12th
It excites a delightful thrill and acts as a tonic to our emotions. It takes us from the heat of summer
into the ice-cooled air of the Arctic regions.
" Subduing of Mrs. Nag"
Comedy; Friday, July 14th
Refreshing breezy and inviting. It exhilarates and stimulates our laugh machinery.
"A Geranium"
A Domestic Drama; Saturday, July 15th
It blossoms and blooms. A thing of Beauty and a Joy forever. It fills the house with its fragrance
and makes everybody happy.
REMEMBER FOUR OF THEM
NEXT WEEK
'The Lure of Vanityi" — A Drama; Tuesday, July 18th. 'On A Tramp Steamer."— Melodrama; Wednesday, July 19th 'Sky Pilot." — Alaskan Drama; Friday, July 21st. ."Widow Pogson's Husband." — Comedy; Saturday, July 22nd.
Photos of Vitagraph players, 7x9 inches ready for framing ; 20c. each, $2.00 the dozen. Do you get the Vitagraph Posters with the descriptions of the pictures on them?
^ The Vitagraph Company of America
NEW YORK, 116 Nassau St. CHICAGO, 109 Randolph St.
PARIS. IS Rue Sainte-Cedle LONDON, 25 Cecil Court
w
THE MOVING PICTURE WORLD
A
The Badge of Courage
A stirring drama containing a thrilling rescue from a burning building.
Released Monday, July 17th Length 1000 feet
Making Mother Over
A COMEDY BY REAL COMEDIANS.
Released Wednesday, July 19th Length 990 feet
By the Aid of a Lariat
A Sensational Indian Drama. In this remarkable production a young lady crosses hand over hand on a lariat over a deep canyon.
Released Friday, July 21
Length 1000 feet
Art portrait in four colors, 15 x 20 in size, of Gene Gauntier,
40 cents, prepaid.
Full one sheet four color litho (27 x 40 inches) of Alice Joyce, 15 cents, postage prepaid.
COMING— Monday, July 31st
The Mexican Joan of Arc
A Mexican war story with genuine Mexicans and Indians.
KALEM COMPANY
INCORPORATED
NEW YORK, 235-239 W. 23rd St.
LONDON, 45 Gerrard St. W.
BERLIN, 35 Friedrich Str.
10
THE MOVING PICTURE WORLD
No other Screen or Curtain shows the high quality of picture which is obtained
by use of the
UNLIGH
.LIC CLOTH CURTAIN
Write us for list of prominent users, prices and terms.
Rolls — Drops — Fixed Screens Sunlight Metallic Cloth Curtain Co., ""chicago*
GREAT NORTHERN
Release for Saturday, July 8th
SUPREME IN IT'S FIELD
AS A MAN SO WETH
A novel and effective film, conveying a strong moral lesson
Release for Saturday, July 15th
(Split Reel)
A SOLDIER'S LIFE
A rattling good comedy in which a well known comedian takes the
leading part.
AT SEA UNDER NAVAL COLORS
An effective picture of life on a battleship showing numerous interesting
and novel scenes which must be seen to be appreciated. Don't fail to get
it! Photography, tinting and toning up to our usual standard.
All First -Class Exchanges Handle Our Product
GREAT NORTHERN FILM C0.,7 E. 14th St., N.Y.
(NORDISK FILM CO. OF COPENHAGEN.)
Moving' Picture World
THE WORLD PHOTOGRAPHIC PUBLISHING COMPANY - 125 E 23d. Street, NEW YORK
(Beach Building) J. p. Chalmers, Editor and Manager. Telephone call, 1343-1344 Gra mercy
SUBSCRIPTION RATES : $3.00 per year. Post free in the United States, Mexico, Hawaii, Porto Rico and the Philippine Islands. Canada, $350- Foreign Countries, $4.00, Post Paid.
DISPLAY ADVERTISING RATES ON APPLICATION
CLASSIFIED ADVERTISEMENTS (No Display), Three cents per word, minimum charge 50c.
|
WESTERN |
OFFICE : |
169 |
W. |
Washington Street |
(Post Build |
ing;, Chicago, 111. |
Telephone, Main 3145. |
Automatic |
Phone 32732 |
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Entered at the General |
Post Office |
in New York City |
as Second-Class |
Matter. |
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Address all |
correspondence |
"Moving Picture World. P. O. |
Pox 226, Madison Square, New York," and not to |
individuals. |
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Vol. |
9 |
JULY |
15, 1911 |
No. 1 |
AEROPLANE DISASTER, AN 43
AMONG THE EXHIBITORS 66
BOSTON ! 25
CHICAGO FILM BREVITIES 24
CHICAGO LETTER 23
CHICAGO PICTURE SHOWS 23
CLYDE MARTIN'S TOUR 25
COLISEUM THEATER, SEATTLE, WASH 26
COPYRIGHTING A SCENARIO,
By George Roekhill Craw 20
COMMENTS ON THE FILMS (Licensed) 38
•COMMENTS ON THE FILMS (Independent)
CORRESPONDENCE 52
DANTE'S INFERNO 17
DECLARATION OF INDEPENDENCE 43
DOES IT PAY TO BE FUNNY? 16
FACTS AND COMMENTS 12
FRENCH, CHAS. K. (Illustration) 27
GREAT EPIC IN MOVING PICTURES 14
GROWTH OF WICHITA FILM & SUPPLY CO.. 43
Index to Contents.
HANDY TOOL FOR OPERATORS 49
HARD TASK, A 32
HE'D SEEN IT BEFORE (Poem) 25
HIGH-CLASS ADVERTISING 43
HORSLEY'S TRIP WITH MUTT AND JEFF... 42
INDEPENDENT FILM STORIES 60
IN THE MISSISSIPPI VALLEY 53
JIMMIE ELOPES 18
KINEMACOLOR EXHIBITION 13
LECTURES ON FEATURE FILMS 25
LETTERS TO THE EDITOR 50
LICENSED FILM STORIES 54
LOS ANGELES 52
LOUISVILLE 52
MEXICAN JOAN OF ARC. THE 19
MUSIC FOR THE PICTURE 32
NEW ENGLAND 52
NEWS NOTES 22
OUTLINE OF HOW TO WRITE A PHOTO- PLAY, by Everett McNeil! 27
POWERS IN NEW QUARTERS 49
PROJECTION DEPARTMENT 33
REVIEWS OF NOTABLE FILMS 18
SERIOUS VAUDEVILLE SITUATION,
by Robert Grau 21
STORIES OF THE FILMS (Licensed) M
STORIES OF THE FILMS (Independent) 60
STRIKE THAT FAIED, THE 27
UNIVERSAL APPLAUSE SUPPLY COMPANY. .26
VEIL OF HAPPINESS, THE 19
VITAGRAPH NOTES 49
WASHINGTON. D. C 53
WITH THE WESTERN PRODUCERS 22
YANKEE BEAT, A 49
LICENSED FILM MANUFACTURERS.
BIOGRAPH CO 5
EDISON, THOS. A 58
ESSANAY FILM MFG. CO 63
KLEINE, GEO 61
KALEM CO 9
LUBIN MFG. CO 6
MELIES CO 51
PATHE FRERES 7
VITAGRAPH CO. OF AMERICA 8
SELIG POLYSCOPE 59
INDEPENDENT FILM MANUFACTURERS.
AMERICAN FILM MFG. CO 3
CHAMPION FILM CO 86
ECLAIR FILM CO 70
GREAT NORTHERN FILM CO 10
IMP 69
LUX FILM CO ! 65
M. P. DIS. & SALES CO 4
MUTT AND JEFF 89
NESTOR FILM CO 83-S4
POWERS PICTURE PLAYS 4S
REX MOTION PICTURE CO 4
SOLAX CO 67
TIIANHOUSER CO 2
YANKEE FILM CO 86
SPECIAL RELEASES.
CINES CO. OF ROME 73
CLEMENTS, B. E 86
M0N0P0L FILM CO 47
NATIONAL BEST FILM CO. UshrdlU auaslirdluan
NATIONAL FILM DISTRIBUTING CO 65
WORLD'S BEST FILM CO 44
THEATER ARCHITECTS.
DECORATORS' SUPPLY CO 79
FRANZ-CARL KOENIG 71
MOVING PICTURE MACHINE MFRS.
AMERICAN MOVING PICTURE MACHINE CO. SO
EDENGRAPH MFG. CO 80
EDISON. THOS. A., INC 81
ENTERPRISE OPTICAL MFG. CO 74
POWERS. NICHOLAS N7
SIMPLEX MFG. CO Front Cover.
Index to Advertisers.
CARBONS.
FRORUP CO., L. E "5
KIEWERT, CHAS. L 74
REISINGER, HUGO 86
OPERA CHAIRS.
ANDREWS, A. H 55
BENNET. GEO. W 55
HARDESTY MFG. CO 71
KAUFFMAN MFG. CO 55
PEABODY SCHOOL FURNITURE CO 55
ROYAL METAL MFG. CO 55
STAFFORD, E. H 55
STEEL FURNITURE CO 55
WISCONSIN LUMBER & VENEER CO 55
AMERICAN SEATING CO 72
MUSICAL INSTRUMENTS.
BILHORN MFG. CO 55
DEAGAN, J. C 77
LEEDY MFG. CO 72
SINN, C. E 69
WURLITZER, RUDOLPH SO
ZEIDLER, E. P., DRUM CO 72
ELECTRICAL SUPPLIES, ETC.
FORT WAYNE ELECTRIC CO 71
GARDEN CITY FAN CO 72
HALLBERG, J. H TO
MACKIE, H. A 69
KIMBLE ELECTRIC CO 81
PURE AIR APPLIANCE CO S6
SCHUG ELECTRIC CO 57
FILM EXCHANGES.
BRADENBURG T9
CHAUTAUQUA FILM EXCHANGE T7
CHICAGO FILM EXCHANGE 74
CLINE, EUGENE 7!»
E AC LE FILM EXCHANGE 80
FEATURE FILM CO TS
GLOBE FILM EXCHANGE 79
GREENE. W. E T3
LAEMMLE FILM SERVICE 69
LIBERTY FILM RENTING CO 69
PEOPLE'S FILM EXCHANGE T3
SONG SLIDE MANUFACTURERS.
CLEVELAND SLIDE CO 68
EXCELSIOR SLIDE CO •■»
NORTH AMERICAN SLIDE CO Tl
SIMPSON. A. L T5
WESTERN SONG SLIDE CO 5T
LECTURERS.
BUSH, W. STEPHEN T7
HOFFMAN, H. F "5
MISCELLANEOUS.
AMUSEMENT SUPPLY CO 73
ASSOCIATED MOTION PICTURE SCHOOLS 55
BROWN, P. F 51
CALEHUFF, C. A 46
CARTER PRESS 51
DAVIS,' H J- T9
DEWES. A., CO T5
DONNEGAN. P. J T7
EXHIBITORS' ADV. CO 88
FRASRE, H. F T.3
GENERAL FILM BROKERS T7
GOLSEN. R. J.. CO 57
GUNDLACH-MANHATTAN CO "1
HARBACH CO T9
HENNEGAN, J. T 5.
HOKE, GEO. M.. SUPPLY CO 5T
INTERNATIONAL FILM TRADERS 79
KINGERLY MFG. CO 75
KLIEGL BROS 57
LAVEZZI CO T5
LIMIERE JOUGLA 87
LYRIC FILM & SUPPLY CO 72
McKENNA BROS T9
NATIONAL TICKET CO 82
NATIONAL X-RAY CO TO
NEWMAN" MFCi. CO 87
STEBBINS, C. M 57
SUNLIGHT METALLIC CLOTH CURTAIN CO.. 10
ST. LOUIS CALCIUM LIGHT CO 57
TAYLOR. F. C T2
THEATER SALES CO '
TRAINER, C. W.. MFG. CO 55
TURNER & DAHN'KEN 79
U. S. FACTORIES CO 49
U. S. THEATER DISINFECTANT CO 66
VONNEGUT HARDWARE CO 73
PROJECTOGBAPH CO., THE 74
RAW FILM STOCK 51
MIRROR AND TRANSPARENT SCREEN CO.. 88
SEIXAS. G. W 80
FEATURE AMUSEMENT ENTERPRISE 57
12
THE MOVING PICTURE WORLD
Facts and Comments.
At all times in the history of our race there have been large bodies of men, to whom progress and innovation of any kind was distasteful. After these gentry had attained such mental cultivation as the natural soil war- ranted they always wanted to put up the barriers just at that point and always declared that any thing higher or better would not be understood by the public, they with remarkable modesty assuming to speak for the pub- lic. The crisp and racy wit of our people has with characteristic cleverness given these individuals the fit- ting name of "Pull-backs."
*
They are not wanting in the realm of moving pictures. They are at home, thoroughly and only at home on the beaten path and any deviation from it excites their fear and incurs their displeasure. They shut their eyes 'to the progress of the moving picture. They wonder in a pathetically helpless way why the old days, when ten shows on or one or two reel basis were the common rule, have passed and still cherish somewhere in their hearts a hope that these days will return. They make no effort to adjust themselves to new conditions and many of them quit the business with the firm belief that it is going to the dogs in a very short time.
There is a variety of pullbacks in the moving picture field, forever afraid that the film makers aim too high and that the public will not be able to follow. Their pet phrase and argument, which they fondly consider un- answerable is, that the public must never be educated, but just amused and nothing more. They look upon the theory that the moving picture should keep step with the great progressive movement for more light, for a juster conception of life, for a greater love of the artistic and the beautiful as the rankest kind of heresy. They are saturated with the old superstitions of the circus tent and the medicine show. Their overture is, "Well, well, good people, here we are again with the greatest aggregation," and their finale is, "Thanking you one and all for your kind attention, etc."
Their dogma is that man, once he has left school, neither needs nor desires any more knowledge or edu- cation, unless he goes to a college or university. The hundreds of noble men and women, who are today de- voting their money and themselves to settlement work in the big cities are eloquent and pathetic proof of the con- trary. Man in this century is athirst for knowledge. The assumption that because he is poor or compelled by hard daily toil to gain his daily bread, he is no longer capable of higher emotions is as base as it is groundless. The greatest university of today is the moving picture, because its course is always beginning and there are no vacations. No formalities are required for admission and it is open to all.
We are glad to see a kind word printed or spoken for the moving picture, but the patronizing tone of some of the reformers, because it betrays such invincible ig- norance, is at times almost irritating. So many of these people talk, as if the possibilities of the moving picture for good, had just been discovered by them and that complete darkness prevailed until they appeared upon the scene. The moving picture has won its way into sound public favor by the sheer force of its merits. We have now come to a pass when the picture is no longer in need of condescension, but can claim respect, as a matter of absolute right. ■
Fulfillment vindicates the prophet and entitles him to prophesy again. In the summer of 1908 The Moving Picture World in an article "The Film of the Future," predicted the filming of Shakespeare and Dickens, sketched an outline of historic material for the film maker and ran its pointing finger through the pages of the Bible. Nothing then visible on the surface of film- dom seemed to warrant such optimistic visions. Cheap comedy and hybrid melodrama were running riot, and to many wiseacres the limits of moving picture possibili- ties seemed to have been reached. It was common to speculate on the probable duration of the moving picture "fad" with the cheerless view of the man who is sud- denly thrust into the cold gray dawn. Men noted for their owlish wisdom remarked, that all this talk about the great future of the moving picture was vain and the prophets were urged to descend from the clouds and
keep the moles company.
*
In what industry or invention known in the annals of man has the progress of three brief years produced more revolutionary results than in the world of moving pictures ? Printing and photography compared to this have moved at a snail's pace and as to churches and schools the progress, especially in the case of the former, has been equally slow and painful. Not that we wish in the least to underestimate these influences, we know very well that for centuries they prepared the world for the reception and appreciation of this last, but surely not least, of great inventions. The moving picture owes an eternal debt of gratitude to these great humanizing agencies and does not mean to belittle its obligations to them, but that it is destined to supersede some and greatly improve others is not alone the opinion of this paper, but has recently been expressed in plain and forci- ble style by Edison himself.
*
Thus emboldened by the logic and rhetoric of plain facts, we venture to predict, that another step upward will be the development of the proper lecture along with the feature film. Within very recent times we have had such films as "Jerusalem Delivered" and Dante's "Divine Comedv." We mention these two, one of them a four and one a five-reel subject, not because they are the only ones of that type now crowding the market, but because the ne- cessity of a lecture with such will be apparent even to a limited intelligence. Go into any theater in this broad land and take an audience a little above the average if you please and then ask yourself : "How many have sufficient knowledge of such subjects to enjoy them without an explanation?" Unless then these wonderful produc- tions, which signify a new departure in moving pictures, which hold out the richest rewards to exhibitors, which will gain for the photoplay new and permanent patron- age of a most valuable character and which will once for all silence its enemies and gain their respect, are properly presented they are in clanger of "falling flat" and there will come a most deplorable reaction to the lowest and cheapest forms of moving picture entertain- ments. The Moving Picture World, which has the welfare of the exhibitor at heart and likes to see him prosperous, cannot help insisting on these points for the benefit of the exhibitor and the moving picture field at large. *
The expense in procuring such aids to proper and profitable presentation is merely nominal and bears no proportion to the advantages gained, chief of which are added revenues and added prestige and reputation. Once the exhibitors realize these advantages there will be no doubt about a good supply of lecturers to meet the de- mand. Never before have the learned professions been
THE MOVING PICTURE WORLD
*3
crowded as they are today, never has the college-bred man been in such need for a new field of activity. Men of education and some speaking ability are required, for the intelligent public will tolerate no other. To educate a man does not mean to saturate his memory with in- formation from the printed page. In the wider and more modern sense education is the development of the mind, the growth of its power to realize what knowledge is and an ability to group it for the practical purposes of life. Who will say, that in this respect at least the feature film with its sweeping range of subjects, with the ex- planation of a competent lecturer will not play a most im- portant part in the education of the people? This coun- try issues no patents of nobility except for usefulness. In the ranks of that nobility, which Emerson prophesies, a nobility of service, the man, whose abilities entitle him to lecture on moving pictures, will in the future hold a place of no small importance.
. The value of the moving picture as an aid to science is incalculable. In every one of the exact sciences the mov- ing picture is the supreme teacher. Experiments of great importance in chemistry, botany, surgery, physics, now witnessed by hundreds will through the picture be made accessible and valuable to millions. Exchanges, managed by scientists in the interest of science, will be established in the near future, and the reel of film will in every way be the peer of the textbook and of the literature of the specialists. "Sciences taught by moving pictures" will at no distant date supplant the now so popular teaching "by mail.'
Titles are important things on the screen, and very often they sustain and explain the picture better than the action itself. It is therefore astonishing that in so vital a matter some manufacturers, both foreign and domestic, show a shocking degree of carelessness. Titles should not only be brief, but also plain, simple, clear and put in English which the average patron of the moving picture theatre can easily understand. Instead of that, some very good reels are often marred by bad grammar, bad spelling, and English that seems to have been translated with the aid of a dictionary and a crow-bar. The other day we looked at a magnificent film of foreign make, in the course of which we were startled by the following title : "The Imam takes the Ikon to the Soldan." The audience gasped. We do not believe that one man in the seven hundred of the audience had the slightest idea what an Imam was, and but few realized the meaning of Ikon and Soldan. It may have been part of a Turkish menu or a Russian prayer book; but whatever it was, it looked sadly out of place as a supposedly English title in a moving picture film. We could multiply instances, but let this be enough for the present. We suggest to all film-makers to pay due atten- tion to titles and have them censored as to their English by a competent scholar.
Mr. Edison in a recent interview spoke of the possibil- ity of recording chemical reactions in moving pictures. Such an application of the cinematograph to scientific acts and experiments would be of the greatest possible aid to criminal jurisprudence. In all cases where death is claimed to have resulted from the administering of poison, well-known chemical tests with certain chemical agents are made by experts who are then called upon the stand to give their testimony. We know that this expert testi- mony has led to great abuses and has often resulted in miscarriages of justice. The floods of technical terms thrown at laymen jurors was confusing in the extreme.
Men who did not know the elementary principles of chem- istry were suddenly called upon to grasp the meaning and process of chemical tests. If moving pictures were made of these tests and reactions the jurors could understand much better, the hypothetical question would lose its im- portance and a more intelligent and just verdict would be rendered.
Kinemacolor Exhibition
Much has been written in the columns of Tin; M ing Picture World touching the technical side of this great invention and no doubt the student of light and color can see things in the natural colors on the screen, which are not discernible by the mere spectator. How- ever, it requires no special training in science to appre- ciate and welcome the reproduction of natural colors in moving pictures. The impression of the plain untrained beholder is really of the greatest importance of all, for he represents the general public.
A number of pictures in natural colors, the results of the Urban-Smith process, were shown to soTie special- ly invited guests at the offices of the Kinemacolor Company of America, at 145 West 45th Street, this city, on June 30. It was not the first exhibition of its kind, but surely not the least interesting. Some of the pictures lent themselves to an effective reproduction of natural colors and left an impression on eye and mind, wholly different from the ordinary black and white pho- tography. One of the most striking of the pictures ex- hibited was "The Investiture of the Prince of Wales with the Garter." The gray of the ancient castles at Windsor brought out with all the greater effect the splendor of the pageantry, which of course constitutes the chief charm and merit of the picture. In fact the chief title to reality in this and similar pictures unques- tionably is derived from the natural colors, so faithfully reproduced. The same holds true of the dazzling series of panoramas called the "Festival of the Empire." In this picture the King of England and numerous other notable and distinguished personages could be plainly seen, for the divinity that doth hedge a king about does not in these enlightened days screen him from the opera- tions of the man with the moving picture camera. "The Unveiling of the Monument to Queen Victoria" showing the King and Queen of England and the Emperor and Empress of Germany in the procession to the statue fol- lowed next, and it was interesting to note the difference in the manner, with which the Emperor and the King answered the popular acclamations, George affably and smilingly, William stiffly and sternly. One notices even such things much more plainly in a natural color repro- duction, because the whole picture seems more bright and its details appear to stand out somewhat more dis- tinctly. It may have been merely the novelty of the thing, but it did appear to the writer as if the natural colors were more soothing to the eye and involved less of a strain.
Other pictures shown were the launching of the Olym- pic, the white and red of the huge vessel forming a strik- ing contrast to the bright green of the water and "Bath- ing at Ostend." The bright hues of the bathing suits, the sharp changes of white and green on the little bath- ing houses along the strand, the various colors in the dresses of the women spectators gave the picture all and more than the vividness of a painting because the paint- ing does not move.
The exhibition altogether would have been better de- scribed by using the words "moving paintings" instead of "moving pictures."
H
THE MOVING PICTURE WORLD
A Great Epic in Moving Pictures,
Tasso's "Jerusalem Delivered i.\ Four Reels.
This is the second great epic in films, that has come to US from Italy, the "Fall of Troy" having been the first. The chief elements of the epic poem are the heroic
theme, the heroic figure, an abounding in scenes, inci- dents and episodes and a splendor of description. The action, while it must of course possess coherence and dramatic force, is never rapid and its connection with the general matter of the poem may often be only indirect or loose and superficial. It may therefore at first glance seem, that the epic poem is but little adapted for rendi- tion in moving pictures and the ordinary film maker may well and wisely turn away in pursuit of a cheaper theme.
Troy, in the story of Tasso Christian warriors besiege and conquer Jerusalem. It is difficult for us in this age and land to realize the existence of a world-wide, spirit- ual movement, which had for its object nothing more and nothing less than the achievement of an ideal. A little less than a thousand years ago the whole Christian world was thrilled by the preaching of a simple monk, who urged the warriors of Christian Europe to march into the holy land and redeem Jerusalem from the rule of the Moslems. Various crusades followed, but the one, which Tasso chose for the subject of his great cre- ation, had for its central figure Godfrey of Bouillon.
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To the wider and keener vision of the ambitious and competent artist, however, appear along with the prob- lems, the vast possibilities of the epic as a moving pic- ture. He sees a new field, rich beyond hope and as yet wholly undeveloped. He realizes that he has found a new departure for the moving picture and that into the higher and harder paths, which he has chosen to tread, but few will be able or anxious to follow. The undoubted success of the "Fall of Troy'' is a conclusive proof of the rich rewards, which the classic epic bestows upon the manufacturer, who commands the experience, the artistic taste, the scholarship and enterprise, indis- pensable to such success.
The inspiration of the "ball of Troy" was Homer's "Iliad" and the great work of Tasso has not inaptly been termed the "Christian Iliad.'' Indeed there is a striking similarity in the choice of the theme. In the Homeric Iliad Greek heroes besieged and conquered
After many hardships and vicissitudes the Christian war- riors at last accomplished their holy design and Jerusa- lem passed for a short time under Christian control. Around this sublime but simple theme Tasso has woven a mass of minor stories and plots with a grandeur of diction and description, rarely equaled and surpassed by Homer alone.
The epic is divided into twenty books, loosely held together by the main story and at times quite diffuse and purely descriptive. The first problem for the film maker was therefore one of elimination. It was necessary to throw out numerous scenes and incidents and then to build up a plot, which would go well on the screen, pre- serve all the dramatic beauty and power of Tasso and avoid complicating the main story with any of the minor scenes and episodes. The key to success, however, was in arranging the settings, which in the film correspond in importance to the descriptions in the poem. It is due
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to the film maker to say, that in this respect he did the utmost that lies in the power of human art and skill and it is this feature, which without much further aid, would secure popular admiration of the work. The four reels are absolutely free from any taint of cheap- ness in this respect. The attention to details is little short of marvelous. Armors and costumes, both of the Christians and the Saracens, the interior and -exterior of the palaces, mosques, tents, the staging of the camps are simply beyond all praise. The burning of the be- sieging towers of the crusaders, the armed conflicts be- tween the hostile armies, the retreat of the Moslem army into Jerusalem, the battle on the walls of the city, the final victory of the Christians, the burning of the mosque, the fighting in the streets, the preaching of Peter the Hermit had all the impressiveness of realism and will
situation of extraordinary four is attained, which reaches a heart-gripping climax, when Olindo points himself as the thief
The appearance of supernatural agencies on the mod- ern stage is frowned upon and rarel) tolerated even in the work of noted playwrights. Tasso's epic derives small part of it- charm and power from the plotting the powers of darkness against the success 01 the ' hris- tian cause. To have eliminated all of this play by sprites and demons would have meant a serious loss to the spectator; to indulge it to the extent, which was permissible to the poet, would have been tiresome. Again the film maker showed his flue artistic temperament by taking and working out with splendid skill what was suitable and valuable and passing by the rest. Rinaldo's adventure in the enchanted forest, first with the evil
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win the plaudits of any audience. One or two scenes, however, cannot in justice be passed over with merely a brief reference. As a spectacle of convincing dramatic power nothing could possibly surpass the scenes before the palace of the Sultan Aleddin, when the decree of death against the Christians of Jerusalem is read to the people. Nothing is quite so difficult as to obtain satis- factory results with a scene, the success of which must in large measure depend on the action of a mob or a large assembly of people. As a rule we see a lot of ill-trained supers rushing about, trying by all sorts of antics to con- vince the stage manager that they are trying to earn their money. Here every member of the crowd acts with intelligence and to some purpose and the result on the spectator, as despair seizes the Christians, is over- powering. When out of the panic-stricken multitude Sophronia, the Christian girl, struggles to reach the plat- form, on which the Turkish officials stand and accuses herself of the theft of the picture from the mosque a
spirit and then the tempting nymphs, is portrayed with a combination of delicacy and power, altogether too in- frequent in the handling of such scenes. A word must likewise be said about the duel between the Mohamme- dan maiden Clorinda, the most charming feminine char- acter in the entire epic, and the brave Tancred. Ordi- narily such an incident would have left an audience in- different, for these photoplay duels are all cast in the same mould. Here, however, as in every other part of the four reels, we witness the painstaking care of the conscientious artists. Every detail had been most clev- erly arranged and carried out and much time must have been taken with rehearsals to give such a perfect pro- duction. The duel scene is one of the finest in the whole picture. By far the greater part of the action and the more descriptive scenes in the fil ns take place in the open air in the more or less immediate vicinity of Jeru- salem. With a touch of historic truth and realism, which characterizes perhaps better than any other single cir-
i6
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cumstance, the high artistic plane on which the entire production stands, all the scenes are either sandy wastes or stony wilderness or rocky heights. Such is indeed the actual topography of the modern as it was that of the ancient Jerusalem.
The characters in Tasso's epic are Us greatest strength and charm. They are indeed cast in the genuine heroic mould and to reproduce them without losing an iota of their described greatness was a task worthy of a master •of the art. The characters are played with consummate dramatic skill and power. Such indeed as we see him in these reels of pictures was the Godfrey of history and poetry, a figure of noble manhood, consecrated to a lofty ideal, a devout follower of Christ, a redoubtable warrior, a true leader of men. In the last scene, where he ap- pears before the victorious hosts with the emblem of the crusaders, refusing to wear a crown in the city where his Saviour was crowned with thorns, he gives an impression of sincerity and dignity, which inspires the audience with something akin to awe and reverence. Rinaldo,*the fearless impulsive knight, who was tempted and fell, and at last breaking away from the toils of his sweet enchantress reappears in the Christian camp, re- pents and is received by Godfrey, is a lovable part throughout and gains a great hold not only on the ad- miration, but also on the affections of the audience. The same is true of the noble Tancred, who in the scene where he baptizes the wounded Turkish maiden Clorinda, displays histrionic talent of a very high order. Clorinda and Armida are the only feminine characters of impor- tance in the story and no word of praise given to either can be too enthusiastic. Physically they are both per- fect types of womanhood. The earnestness of their act- ing must impress every one. Clorinda plays the part of the Amazon on the Mohammedan side, she has cast off the finery of her sex and hides her charms under the heavy suit of mail, until Tancred in a most affecting scene fatally wounds her and learns her sex. Though possessed of all the martial ardor of the Maid of Orleans, she has a heart as tender as it is brave and her inter- ference in the carrying out of the death sentence against Sophronia and Olindo is one of the sublime moments in the film. With equal perfection is played the part of Armida, the sorceress and queen of Antioch.
It is necessary with all these splendid points of merit to criticise a few minor blemishes, which could very easily have been avoided. The angel Gabriel, which in the first reel appears to Godfrey, is disappointing. If the description of Tasso had been followed no such blunder could have been made. The gate of Jerusalem, shown in the various parts of the production, is of wood, while in the poem, the gates are described as fortified "'with mighty bars of long enduring brass" and Aleddin goes to the "steel-bound doors and iron gates."
In summing up it must be said, that the only danger to the great success which this production so amply deserves, arises from the inability of the ordinary audi- ence to fully understand and enjoy the reels. Tasso's poem, though admittedly one of the very few great epics in the literature of the world, is in its details known to Taut comparatively few and some of the very finest parts in the film would without an explanation be meaningless and go for naught. The sub-titles as they stand today are badly spelled and badly put together and a hindrance rather than a help. Unless there is some medium through which the full worth of the work can pass from the screen to the audience, much of this precious and noble effort is in great peril of being lost. Happily there is a bridge to span this chasm and that is the lecture with music and suggestion.
W. Stephen Bush.
Does It Pay To Be "Funny?"
By William H. Kitchell. According to a recent observation of the "Man About Town," there is "big money" awaiting the writer who can invent photoplays that are comedies. "Good come- dies can command good prices." They can — but they don't. And again : "The dearth of comedy is again, or still, the cry. There is a reason." There is — and a good one.
It is necessary to be personal enough to remark that the writer is enough of an ass as to write moving picture scenarios for a side-issue. The fact is admitted ruefully. Somehow there is a fascination about the speculation that draws one back to the stamped envelope and the inevitable rejection-slip. Monte Carlo and Wall Street are mere bagatelles compared with scenario writing. Indeed, if there were little else in life but orange blos- soms, immortelles, and the ten and fifteen-dollar -checks which drop occasionally into the picture-playwright's pocket from the charitable hand of a film manufacturer, the game would still be worth the candle. We are all born gamblers at heart.
Furthermore, the writer is an inventor of alleged com- edy. It is true that there is a fair demand for humor- ous scenarios. They are the easiest of all to sell ; and the inventor who cannot dispose sooner or later, of fifty per cent, of his- "funny stuff" has no "call" to the busi- ness. The writer has averaged higher, with several fair plots to be heard from and more than one poor one sold. Perhaps, in a microscopic way, he has a "reputation." When you get a "reputation," you get a letter once in awhile from several scenario editors asking to hurry up a particular brand of comedy, as the Comedy Director has a "bug on" for elopement stories, or vice versa. Then you fill the bill and send on the manuscript, and about four months later it comes back with a note stating that there is "no demand for the enclosed type of story. Send us something different."
And other privileges go with the "reputation." If you have a sufficient supply of nerve, you send back a five- dollar check or two with a note stating that you are now getting $20 apiece for your comedies, and that you de- cline to undersell. Really there are manufacturers, both Licensed and Indepet.dent, who pay the extraordinary sum of $20 for a live comedy scenario. It sterns in- credible, but the writer can prove the fact by his cash- book. He has also received checks on a few red-letter occasions, for $35 and slightly more ; but with One ex- ception these were for dramas, not comedies. And from all but one company he was a long time getting the S20. One scenario was taken by a reputable manufacturer for $8, including a detailed scene-plot and a synopsis ; and moreover the farce made a "hit." handicapped as it was by its cash value.
It is necessary again to be personal enough to remark that the writer is an ass. If he had been human, he would have returned the eight dollars.
At present the "big money" goes to the mechanic who probably needs it most — to the hard-working Comedy Director who revamps the comedies that have been "done before" and slides the second-hand machine work upon a disgusted photoplay public. There is no "dearth of comedy." Not of the average photoplay variety. There will be none, so long as one alleged "comedy" plot can be worked seven times in six months, with variations, by one Director of Comedy whose name and business ad- dress the writer will forward cheerfully and free gratis to any reputable assassin.
Not but what there are Comedy Directors who are above hack-work, and exceptions from the category.
But "does it pay to be funny""
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Is twenty dollars an adequate recompense for an orig- inal comedy? Despite the fact that they are easier to get rid of than an average drama or melodrama, they are vastly harder to write. For one really humorous plot suggestion that arises in the scenario writer's mind, he can think of a dozen dramas or Western plays worthy of production. The proof can be found in the photo- play houses. How many new and original picture com- edies have been released by film manufacturers dur- ing 1911?
And few of the few of the originals were written by the salaried writers employed by the manufacturers.
The day will come when the manufacturer will wake to the fact that a new comedy "situation" is worth more to an outside writer than the check he can draw from the studios. The same amount of "reputation" that will enable a writer to demand $20 for a comedy scenario, will enable him to demand from two to four cents a word for the same material in short-story form. And for every picture manufacturer using outside contri- butions, there are fifty magazines and periodicals, all of which would go out of commission in three months without an available supply of unsolicited articles and stories. This is why most of the story writers go back to the magazines after a "try" at the pictures — and why the manufacturer continues to advertise in the writers' "trade papers" that he is paying from $10 to $100 for photoplay plots.
If there is a demand for comedy for the photoplays, there is a wider demand for "funny stuff" from the Sunday newspaper and the periodicals. The writer pleads "not guilty" — but he knows of a newspaper worker who worked a live humorous "situation" once a week for three months in one Sunday newspaper, and then repeated the stunt some months later in another pe- riodical. And he got a living salary for the work ; which is more than the photo playwright gets.
There are new, live, and amusing comedy plots in the brains of the average man who can appreciate and origi- nate a "joke," but there will be few in the photoplays until the manufacturers offer sufficient encouragement for the budding scenario writer to dig into his imagina- tion and write. Life means labor for the most of us who are not moving picture manufacturers or Comedy Directors, and we sell our work to the best market.
For it does not pay to be a live and original photo playwright for the picture manufacturers.
"Dante's Inferno."
An explanation is due to our readers in regard to ap- parently conflicting announcements of the film "Dante's Inferno." It appears that there are two of these produc- tions now available to the American public. One, by the Helios Company, of Italy, is in two reels, and is highly commended by the foreign press. This is now being marketed by B. E. Clements (see advt. on page 82.) The other and more elaborate visualization of Dante's poem is in five reels. It more closely follows the fa- mous illustrations of Gustave Dore, and is said to be the most elaborate and impressive film ever made. It is not yet clear who will exploit the Milano film in this coun- try. Sig. Lombardo, in Rome, who is said to own the rights for the whole world in the Milano production, en- tered into a contract with the representative of an American company for the exclusive rights for this country and Canada. On the same day his authorized agent, in Naples, made a similar contract, only on differ- ent terms, with representatives of another American company. To the layman both contracts appear to be valid and both concessionaires equally sure of their
rights. Both claimants have retained counsel and the outcome will he watched with interest. Meanwhile the Helios film will have a run for In
should not detract from the value of the Milano produc- tion. To the contrary, the excellence of the first should exalt the value and increase the demand for the latter. which, we are informed, represents almost two work of the best Italian artists and artist
Items of Interest.
With unshaken faith in the stability of the Moving Pic- ture and as evidence of his belief that they are here Lyman H. Howe, lecturer and traveler and dean of picture exhibitors, has put into effect a remarkable new and original scheme and one which will undoubtedly | feature of vital importance to the industry, especially from an educational standpoint. The plan is to compile a moving picture history, a collection of films showing prominent and notable characters, scenes of interest and notable places of the time. These pictures are now being taken in various parts of the country and will be stored away in their de- partment at Wilkesbarre, Pa., each film to be placed in a glass case, with a typewritten description and explanation and sealed with a stamp reading: "Not to be opened for one hundred years." Thus the posterity of the present century will view the history of national progress from the moving picture screen, and can but have full confidence in it- relia- bility and accuracy.
The newly constructed Northwestern railroad depot, one of the most majestic structures in the city, is the first =cene to be taken for the Howe library, in Chicago. It was taken several days ago by the Essanay Film Manufacturing Com- pany and will shortly find its way among the notables. This idea, which will culminate in a library of great value not only to historians, but to the country in general, was origi- nated by Mr. Bosworth. who represents Mr. Howe- on the road, and well may credit be awarded him.
A meeting was held recently in Hamburg. Germany, under the direction of Herr J. Henschel, to protest against the almost crushing taxation to which cinematograph theater proprietors are subjected. In the course of the meeting at- tention was drawn to the fact that all over Germany opera houses and other great theaters were not only free from taxation, or only subjected to slight taxation on the grounds that such entertainments were for the good of the people as a whole, but even received state assistance. Nevertheless, in spite of the immense benefit the poorer classes were un- deniably receiving in the way of healthy amusement and education, in a form easy to be assimilated, every effort was being made by local bodies to crush picture theaters out of existence. In the case of unstamped ticket- being issued by mistake, the proprietor might find himself sentenced to six years' imprisonment in default of payment of a fine of 10,000 marks.
Just about the time, when man yields to the fond belief. that he is the real lord of creation, lovely woman comes along and shatters the illusion into smithereens. She has again scored over mere man by enlisting the moving picture in her quest for the right to vote. Their latest device for furthering her end« in England has taken the form of a photoplav. entitled "True Womanhood." It is said to be a thriller from Thrillersville. The exhibitors are to be urged to show the film and are to be tempted by the promise of a large number of the warring sisterhood in case of com- pliance. Of course the married exhibitors will be largely influenced by their wives and enjoy in this matter at least a distinct advantage over their bachelor brethren.
The International Film Traders' Company, of No. 5 West 14th Street, has scored a most creditable victory by having the reel depicting the scenes at the coronation of King George V and Queen Mary ready for the New York lovers of moving pictures as early as last Friday, Tune 30th. The film, which had been consigned to the I. F. T. Company on board the "Mauretania" was exhibited for the first time in America on the day mentioned at the Unque Theater on Fourteenth Street.
Beginning Monday. July 31st, the Vitagraph Company will relea'-es five films each week: Monday, Tuesday. Wednes- day. Friday and Saturday. Two comedies, one Western, one military, and one -traight drama.
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JIMMIE ELOPES. Reviewed by Jas. S. McQuade.
Among George Kleine's latest importations is a mirthful comedy, of full reel length, entitled "Jimmie Elopes." The deliglu which this talented boy actor has created in the minds of hundreds of thousands of picture lovers has endeared him to as many hearts, and his latest escapade will doubtless be viewed by many through eyes that will brim with tears of laughter.
But Jimmie is made of such chivalrous stuff that he would not, if he could, attract all attention to himself in this en- tertaining, silent drama. The tiny girl tot, who cats her lot with him in the early morning flight from home, will also
in relief and the facts clearly reflect the emotions of the moment. 1 cannot remember having previously viewed a scene that remains with me so persistently as this one. owing to its powerful, artistic appeal. Jimmie and Aiice are next door neighbors. Alice is motherless and lives, without broth- er or sister, to relieve the motony of home life, with a grouchy father. Jimmie is blessed with a father and mother, who look on him as the apple of their eyes. The sharp eyes of Jimmie soon discover the sadness of the life of little Alice, and at times he persuades his mother to invite her as a guest. One morning the father of Alice is particularly unkind, and orders her to sweep the rooms and hallway, shaking her roughly as he gives the command. Jimmie learns of it and immediately invites her to have breakfast with him.
occupy a prominent place in the estimation of all who view the film. She is a dainty little Miss, with a naive, clinging tenderness at times, that wreathes one's face in smiles; but, on occasion, she can assume an imperious air and stand un- moved by the most urgent entreaties of her companion. It is a treat indeed, to see these clever children act their parts. And it is all so natural. They are just living the roles — not one false gesture nor sign of .self-consciousness.
That scene in the rectory, where the children appear before the good father and request that he marry them, has all the artistic grouping and detail of a great painting. The first par! of tin- scene (before the child elopers appear), showing tour clergymen in rehearsing sacred music, is a masterpiece of photography and toning. The figures seem to stand out
In the meantime the father returns and Hies into a rage on finding that his instructions have not been obeyed. He is still more angry when he discovers that Alice is the guest of his neighbors, and there is a scene between him and the mother of Jimmie. after which the boy is admonished to keep away from Alice. But Jimmie is of sterner mould and, at the first opportunity, he seeks Alice, who acquaints him with her woes, among the latter being a sound spanking, administered with unspairing hand. The climax has been reached and Jimmie is equal to the occasion. He proposes a meeting at midnight, on the roof, where they will be safe from prying eyes. The attic windows. Jimmie reminds Alice, will enable them to get together and consider the plan that he has in mind. The midnight hour has tolled and we catch sight of
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Jimmie's head as the attic window is raised. Soon Alice i~ seen. And now Jimmie shows that he is a good jutlg» of human nature and that he possesses wise foresight. Sus- pecting that Alice has been sent to bed supperless, an I know- ing that courage is fostered by a full stomach, lie ha;! pro- vided bread and wine for her. These he quickly |i-hM', to her, on finding that he had guessed rightly, and then proposes that they elope. He requests her to return to her "00111 and fr 11 the void places, after which she is to await h'.s return to the roof with the necessary ropes for their descent to the srreet. It is a novel sight to witness the young elopers de- scend for three stoi ies by means of a rope, an athletic feat that will make many wonder. They gain the sidewalk and hurry off. Meantime, two police officers come along and espy the rope. Burglary, or some other crime is suspected, and they climb up to the roof. Then we see them in the sleeping room which Alice had just left and where her father lies in deep slumber. The officers take him for a burglar and rush him off to prison.
While this is happening, Jimmie and Alice are looking for a clergyman. They arrive at the residence of one, but the bell is fixed so high that Alice is obliged to hold Jimmie up while he tries to reach it. He finally succeeds and they are ushered into the presence of the good father and his brother clergymen. We can see that Jimmie's manliness captures his new found friends, and the surprise and smiles on their benevolent faces are a good sight to see, when he explains the object of his visit. After some time the reverend fathers learn the children's story and the location of their homes. Refreshments are then furnished the weary elopers and they are accompanied to their parental roofs by the rector. The date of release of "Jimmie Elopes" will be announced later.
THE MEXICAN JOAN OF ARC (Kalem). Reviewied by W. Stephen Bush.
The great empire to the south of us has often in the past been the theater of bloody and stirring events, but its annals hold no record of a more truly elemental tragedy than is told in this silent drama. It is a true story, well attested by the Mexican press and authentic American news dispatcher. A plain woman of the people, content to be nothing more than a faithful wife and loving mother is suddenly plunged into a fearful anxiety for the lives of her husband and sons. President Diaz, bold in his youth, resolute in his prime and bloody in his old age, suspecting like the half-mad emperors of old Rome danger where there was no danger, causes through his "jefe politico" the arrest of Talamantes and his two sons. They are torn from the bosom of their family and rushed to a "cortel," nominally a court of justice, but as a matter of fact nothing but a legal convenience for the designs of the despot. The dictator's tool, one Zefas, is drunk, when Talamantes and his sons are arraigned before him and even in his drunken mood he condemns father and sons to death. The sentence is promptly carried out, even while the wife and mother pleads for mercy or delay with the drunken military judge. The halting utterances of the judge make her understand the frightful truth, that she is a widow and a twice-bereaved mother. The widow swears to be avenged upon Zefas and his master and becomes indeed the Nemesis of the wretched Zefas and contributes not a little to the success of the insurrection and the dethronement
and the thinly disguised Hi the tyrant Dia2 Such in
\ ery few words 1- lli> -tory.
It possesses a tragic power greater than that of "Joan of Vrc." The latter was impelled by patriotism, moved by
heavenly virion- to come to the aid of her king. It wa the woman, not the sweetheart, wife or mother that Stirred within her when she confronted Talbot ami Salis- bury, hut tin- Frenchwoman, the loyal subject "i tin- French king. As a motive for action, patriotism, however laudable, cannot for a moment compare with the far deeper and more primitive and elemental emotion of wife's and mother's I A woman roused and determined and spurred on by the wrongs rhe has suffered a-- a wife and mother rises at once to heroic size in the eyes of any audience and gives tin- play a power and dignity, vvhich.it would otherwise not pos >> The widow Talamantes eared nothing about the insurrection in itself, she uses tin- insurrection as a means to an end and thereby lifts the whole story into a higher plane of dramatic force and interest. What must otherwise have been a com- mon tale of war and politics now becomes a tragedy in the truest sense of that word.
There is so much other merit in this film, as will appear presently, that it would rise above the level of the ordinary, even if the part of the widow Talamantes had not been taken by a competent and gifted artist. As a matter of fact, how- ever, the actress, Jane Wolf, who essayed this difficult role, measured up to every inch of her responsibilities. Her great test came with the scene in the "cortel federal." which she entered as a half-broken, pleading woman and left a few minutes afterwards like a very goddess of vengeance, "filled to the top with direst cruelty." None but a chosen votary of the histrionic art could have done the work she accomplished. When the awful truth at last dawned upon her and she realized that husband and sons were dead >he manifested in all her despair and fury that control and poise, which is of the essence of art. Her oath of vengeance was a con- summate piece of acting. All other characters in the play were of course subordinated to that of the widow Tala- mantes, but whatever she needed of capable support was well supplied by the rest of the company. The latter, it must be specially mentioned, were not the regular Kalem players, but all Mexicans, half-breeds and Indians. How much more eloquent the Southern races are with their faces and their hands and fingers than we of more Northern origin was again illustrated in the course of this reel and it was a most pleasant relief to see real Mexicans, real half-breeds and real Mexican Indians after the caricatures that nightly parade through the films of the cheaper sort.
The play possesses an uncommon historic value, first be- cause it deals with an authentic contemporaneous event, and second, because it shows us the real Mexico as it exists to-day. All the pictures were taken on Mexican soil in the very neighborhood in which the actual scenes in the tragedy, as reported by the newspapers, had taken place. It is a way of teaching history and geography which cannot be sur- passed. For such an education, conveyed in such manner children and grown people will alike be thankful. We know to-day but little more than our grandfathers about the land of the "conquistadores," but with the modern moving pic- ture this will soon be changed.
One word more about the last scene. When vengeance has been wreaked on Zefas the title tells us, and so does without words the widow Talamantes: "Now I will go back to my people." It is a fine dramatic conclusion, which no audience can fail to perceive and appreciate.
THE VEIL OF HAPPINESS (Pathe). Reviewed by W. Stephen Bush.
The veil of happiness in this play is the hazy film, which covers the eye of the blind. While this "dim suffusion" lasts the mandarin feeds his hungry heart with fond illusions and goes through life deceived, it is true, but not unhappy. His eyes, so long quenched by envious vapors, are opened to the light by the mysterious liquor given him by the sorcerer. Boundless at first is his gratitude to the source and giver of all light. Too soon, however, he finds that the son, whom, while blind, he had regarded as dutiful, mocks and despises him and that the wife, in whom his sightless orbs had trusted, was a faithless wanton. He now curses the belated gift of vision and following the direction in the socerer's written advice he. by using ten instead of three drops, vol- untarily destroys his sight and returns to the darkness, in which he had been fondly and foolishly contented.
This is the skeleton of the story, which the Pathes have decked out with a beauty of color and a power of acting, that form a true feature film. It is well known that in col- orded pictures this French firm has long had a decided lead, but in the present reel they surely surpass even their own
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THE MOVING PICTURE WORLD
rds. The settings both natural and artificial are worthy of a cleverer pen than mine, I doubt whether even Lafcadio Hearn could do them justice. With good projection and good light and moderate speed these pictures will seem like so many paintings from gifted hand-, "a dream of picture galleries or a picture gallery of dreams." The scene beside the pagoda, where the wretched Tschang sees his wife ac- cept the attention- of a lover, the corner of the Chinese town where the blind man i- cured by the sorcerer were all
short; they were gone, before the delighted eye could drink in all their beauties.
Gorgeous settings, rich dresses and costumes, bewitching scenery do not, however, constitute the greatest merits of this play. Its particular title to public admiration is the act- ing of the artist, who takes the part of the blind mandarin. His was indeed a most exacting task. In the spoken drama even it requires, as a rule, a certain amount of time to de- velop an intense situation. Here a few moments led up to the crisis of the play and then the actor had to picture in rapid succession the emotions of extreme joy and hope and of extreme grief and despair. Nor did his task end here. Up to now there was but little to distinguish the story from many others of the same kind, we only mention Gaumont's ''The Blind Man of Jerusalem," released more than two years ago. The peculiar merit and moral and dramatic strength of the film lies in its strange conclusion. Tschang has two courses open to him after the discovery of the deceit prac- ticed upon him; either he must tell the wife and son of what he has seen and denounce and punish them, or bear his mis- fortune in silence. He decides to bear his great sorrow in silence and to return into darkness. Voluntarily he deprives himself of the sight, so briefly enjoyed. He goes on receiv- ing the feigned homage of son and wife with apparent pleas- ure and rather than put them to shame he carries his misery through life with him. It may be objected, that the blind mandarin offends against the probabilities of human nature and that his virtue is perhaps the refuge of weakness rather than triumphant self-sacrifice. However, that may be a critic must never forget that in moving pictures as in litera- ture, truth is sometimes stranger than fiction, and as played by the actor there seemed nothing improbable in the ending. The end of the play is in any event full of dramtic force and the picture as it disappears from the screen leaves a little conflict of emotions in every heart — a thing much to be de- sired in a drama, which is otherwise unexceptionable.
FOREIGN NOTES OF INTEREST.
The English press and pulpit are fulminating against alleged exhibitions of obscene moving pictures before so- called aristocratic audiences. Nobody seems to know just where the bad films come from, but London makers are freely exonerated by the press. The exhibitions seem to have been given in secret and everybody connected with them seems to be thoroughly ashamed of the affair. The regrettable feature is a new outburst in certain newspapers against pictures generally.
A certain editor of a newspaper in Leipzig, Germany, had for some time amused himself by printing all sorts of dis- agreeable things about an exhibitor of moving pictures, holding the poor man up to contempt and ridicule and im- mensely enjoying the performance. At last the worm — meaning the exhibitor — turned and had the aforesaid editor haled into court for defamation. The court, learning that the assertions of the editor were totally false, imposed a fine with the alternative of impri-onment.
Copyrighting a Scenario.
By George Rockhill Craw
In order to protect yourself against piracy during that period in the sale of a scenario when it is being hawked about the country to the various producers, lying about on the desks of scenario editors, etc., have you ever sent a copy of it to the Register of Copyrights at Washington, with an application for the entry of same, so as to obtain copyright protection?
If so, you have probably received a letter from the Reg- ister, stating that your application, manuscript, and the fee of $1.00 have been received. The letter has -also probably stated that "the copyright law does not make any provision for a 'scenario,' by name. A scenario is subject to entry as a 'book,' as the description of a motion picture, like the description of anything else, might be a book. In the case of books, no entry can be made until they have been printed and published with the statutory notice of copyright, and two copies of the best edition so published, deposited in this office. I therefore return the scenario to you herewith. If you will send to this office one complete typewritten or manuscript copy of the drama, your copyright claim may be entered. Pending your prompt response, I will hold your application and remittance of $1.00."
Upon receiving this letter, you have, of course, at once dismissed the proposition of publishing the scenario as a book in order to have it copyrighted. The expense would probably be almost as great as the price you would receive for the scenario if you should be able to sell it.
A certain author who writes scenarios for motion picture production, upon receiving the letter in question, sought to avail himself of the letter's alternative proposition, i. e., "If you will send this office one complete typewritten or manu- script copy of the drama, your copyright claim may be entered." By the word ''drama." the Registrar means a com- plete dramatic composition, with dialogue, a scenario being merely the general outline of same.
The author, believing that pantomimes were copyrightable without dialogue, merely changed the title of his scenario MS. so that it read, "A Pantomimic Dramatic Composition," these words appearing immediately after the title proper. He again sent the original scenario, with this little change, to the Register, stating that while the manuscript had the appearance of a scenario, it was a complete pantomimic dra- matic composition, inasmuch as nothing further need be added to permit a finished pantomimic theatrical production to be made from it, and on this ground he asked that copy- right entry be made at once.
The Register's reply to this was that the author had sent "some pages of manuscript entitled, 'a pantomimic dramatic composition.' This play has been examined with some care, and the conclusion is difficult to resist that it is a descrip- tion of either what does appear in a moving picture, or what is going to appear in one. In a pantomime there are no words, but in the manuscript sent by you there are captions which are to be communicated to the audience in some way. There is no way to communicate matter of that sort by a pantomimist. All that he does is simply to act, not to speak, and it is difficult to imagine how these captions can be pre- sented to the audience except by scpoken words, or by the projection on a screen as in the case of moving pictures. Before further action is taken it would seem necessary for you to state distinctly whether this article is intended for production by moving pictures, or in any other way than by action alone performed by a living person on the stage."
By the Register's reference to the "stage," was meant the public stage, before an audience of the public. While the author may have intended the pantomime for the moving picture stage, he could also have intended it for production on the public stage in the form he had written it. if a man- ager could be found to put it on, and he felt that whether it ever was put on a public stage and acted there by living persons, or not, was no affair of the Register's. So he wrote that official to the effect that the pantomime was intended for a production on the stage by living persons, but that it might also be acted before a moving picture camera.
To this letter the Register replied that "while some panto- mimes are really acted but unspoken dramas and entitled to copyright protection as such, not all pantomimes belong to this class, and it is difficult to distinguish them, and still more difficult to determine how registration of a drama wthout words can be made. The question ist what shall be filed as deposit? How is the public to know what you claim on in connection with this pantomime? There is no copy- right protection for gestures, tones, or scenery: Keene vs. Kimball (16 Gray 551). and in a pantomime there does not seem to be anything but gestures, tones and scenery. In cases r.f doubt like this, where the method of procedure is uncertain, it would seem incumbent upon the applicant him-
THE MOVING PICTURE WORLD
21
self to make clear what mean- should be taken to secure his right-, if he lias any. This office d'>es not mean to be understood as suggesting that some pantomimes cannot be registered, but merely to point out the uncertainty of what ought to be put on record here as deposit to secure your rights." The Register further stated: "Of course, if you write a drama, such drama is entitled to registration, as the law makes it so, and there would be no objection to registering your claim to the drama if the manuscript or printed copy of same were deposited in this office. ' Perhaps it might be well, if you think proper, for you to rewrite your work so that it will be dramatic both in matter and form." By the time this letter was received, the author had sold the scenario in question, so that he no longer required copy- right protection, although the producer who bought it might then have been interested in copyrighting it to protect him- self during the time that the picture for it was being made However, the Register's last letter had cleared the atmos- phere somewhat, and because of it the author felt that even if entry should have been made as a pantomime, and this seemed doubtful of attainment, the copyright might not have stood in the face of a contest.
In the future, in order to be able to put the protecting
words, "Copyright, 19 — , by ," on his scenarios,
and have the entry stand the test of a contest, the author felt that he would have to write them into dramatic form. Brevity was needed, as it would not pay to put much work into the matter of copyrighting a scenario that might bring no more than $25. He figured that a line or two of dialogue added to each scene of a scenario, in connection with the general pantomimic directions of the scenario, would make it dramatic in form.
Nothing that suggested the subtitle of a moving picture scenario must appear in the copy that was to be sent to the Register of Copyrights. Where these substitutes were quotations of what the actors were saying, it was easy enough to write them into the regular dramatic form of dialogue, but the descriptive subtitles offered an obstacle. They were necessary to carry on the thread of the play. It would be hazardous to omit them, and if left as they were, the Register would probably refuse to make an entry of the composition on the ground that it was obviously intended for motion picture production only.
So the author went back to an old device of Shakespeare's and added a character called "Chorus." This character was given, as his lines, the wording of the various descriptive subtitles, the wording of which was unchanged, and which were to be spoken at just the places where they appeared in the scenario, the character appearing and making these announcements between the scenes.
Shakespeare gave various names to "Chorus," such as "Rumor as Chorus," the character being a single actor who would appear between scenes and tell of what was supposed to intervene between them, such as the lapse of time, a war, deaths, a journey, etc. Chorus is used four times by Shake- speare in King Henry V.; Rumor, in Romeo and Juliet; in Winter's Tale, Time, and in Timon of Athens, Gower. Thus the scenario author had the dramatic precendent of centuries and the usage of the greatest of all dramatists back of him. The author has copyrighted a number of short dramas written from scenarios in this way, the time required being about an hour for the rearrangement, and he of course has the right to put the protecting statutory notice of copyright on the title of his scenarios of the dramas. If another author or a producer should then pirate one of the scenarios so protected, such a person would be liable for a violation of the copright laws, as copyrighted dramas cannot without penalty be made into motion pictures without the consent of the proprietor of the copyright.
Do not think that dramas written briefly as suggested are always at once entered by the Register. But if his objections are met properly he will make the entry and issue the copy- right. He will perhaps object to a large number of scenes, but the objection can be overcome by argument in a letter to him stating that the play is in one act and that a one-act drama may have as many scenes as the author wishes, with- out affecting its status as a drama.
The Register may contend that it is obviously intended for motion pictures. Your argument should be that it is in- tended for production on the public stage if you can find a producer to put it on there, and that it is also intended for motion pictures if a motion picture producer can be found to produce it that way. Being dramatic in form and in- tended for the public stage, it is copyrightable.
It is possible the Register may contend that the manu- script is not a drama because it has not a Beginning, a Middle, and an End. You should point out these divisions of your play to him. the Beginning being those scenes in which the Exposition is made. i. e.. the facts you have estab-
lished first in your play familiarizing the audence with the situation, introducing the characters, etc. It is also called
the Introduction. The Mid. lie 1, the Climax or the Clash in the play. The 1 ml 1 the IJ. it. As even tin- 1
amateur writers have these divisions well marked in their pilot,, play,, n will m,, be difficult to bring them spectically i" tin- Register's attention.
An hour's tune will permit one to rewrite a motion picture scenario into a copyrightable pantomimic drama for the pub- lis stage. The manuscript that i- sent to the Register of Copyright- should be described beneath the title line, as "A Drama in Words and Pantomime." This is advi-ed, as most of the drama will be written for pantomime, only enough dialogue being added to make it dramatic in form.
A change in the copyright law making a scenario copyright- able by name should be urged by producers and authors alike Why should not the scenario for a drama be copyrightable in manuscript form just as much as the drama which is to be written from it? Is not an author with the scenario outline of a drama just as much entitled to protection for it in that form as he is when it has been padded out with the dialogue that has been suggested and arranged for in the scenario, and which makes it dramatic in form?
As Register of Copyrights, Mr. Solberg, give the photo- play dramatists a chance to copyright their scenarios con- veniently, just as they write them, and if you haven't the power, join them in an effort to secure from Congress the necessary amendment to the copyright law.
A Serious Vaudeville Situation.
And Its Effect on the Motion Picture Industry. By Robert Grau.
The readers of this periodical are probably informed of the strife now existing between the vaudeville managers of this country, amalgamated to an almost entity on the one hand, and the organization known as "The White Rats of America," representing "the unionized actor," on the other.
The importance, however, of the proceedings now in or- der and in contemplation are of far greater import to the moving picture industry than is readily conceived, hence the writer is prompted to lay before the most interested people a concise and, he hopes, authoritative recital of this mo- mentous procedure. The moving picture got its first great impetus in the year 1900, from proceedings identically the same as those now casting their shadows before. In this year "The White Rats" society called on the vaudeville managers for the abolition of the "five per cent." that was deducted from the vaudevillians salary, and demanded that this should go to the regular agent only.
The managers declined to negotiate and at a given mo- ment every White Rat walked out of the vaudeville theaters, a state of affairs resulting in a troublous period, wherein the moving picture saved the day for the managers and ulti- mately brought about the defeat of "The White Rats." though it is doubted if any of the managers regarded their victory with any great joy — in fact, it took one full year be- fore vaudeville resumed its former gait, and the strife has lasted to this day, in various ways and means.
In the eleven years that have elapsed since the "strike" period, the managers have prospered, some becoming mill- ionaires, but in the last two or three years these managers have found their position growing more and more untenable until at the present time they are quite prepared to meet any situation confronting them, and they are now face to face with the most serious problem that they have ever had to cope with. The White Rats have seen their membership grow more than 1,000 per cent, in the last decade, and they now claim ninety per cent, of the vaudeville profession, while in the last ninety days all restriction has been waived in an effort to create a membership of colossal proportions.
"The White Rats" are now affiliated with all of the vari- ous labor unions, and the leading figure in its procedure is an Englishman. Harry Mountford by name, who had ex- perience in London in unionizing the actors and also in agi- tating a strike of tremendous dimensions, the effect of which was unfavorable to the strikers, but by no means a victory for the managers. The present strife consists of the refusal of the managers to recognize or treat with Mountford, who threatens that unless the managers "get together" to adjust the differences with his organization, there will be trouble, and this trouble is presumed to mean that Mountford will call out the vaudeville actors, and through his affiliations with the unions call out all other aids of the managers, such as the orchestra, the stage hands and last, but not least, the audience.
All of the managers have come together, and this being the
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THE MOVING PICTURE WORLD
last week of the ninety day period for receiving new mem- "The White Rats" arc practically at the war period.
The managers have inserted full-page advertisements in all of the theatrical papers giving t heir side of the case, thus indicating that the situation is serious enough to justify them in addressing the public.
The managers have emphatically stated that if this strife comes they are prepared for the worst, and that if their houses are closed through inability on their part to provide stage performances, then they will all turn their theaters into straight moving picture houses and keep them ever after as such, and moreover, that they will never employ any of the strikers. It is understood that all of the members are sworn to this policy, and that this country's greatest legal talent is and has been actively engaged m preparing for the strife in whatever form it may take.
It may be but a coincidence, but the vaudeville managers of this country have been taking a vast interest in the forth- coming Kinemacolor pictures, as well as those of the Euro- pean talking pictures, and it is hardly unlikely, in view of the composition of the syndicates controlling these new in- ventions, that the managers really are prepared to turn their theaters over to the cameraman.
We are in the vital period of the cinematographic age, and every new development seems merely to aid in the uplift, hence the Keiths, the Percy Williamses, the Hammersteins and the Polis come more vigorously into the field than they now are. So much the better for them. There's a public for the motion picture to meet every demand on it, and if the level is raised the patronage will continue to increase, so that even if all of the theaters now devoted to vaudeville should be added to the exhibiting class, the response from the pub- lic will prove the wisdom of the managers in their effort to solve a difficult problem.
News Notes.
Chief of Police John F. Sheridan, who was the cause of the moving picture shows not opening on Sundays in Man- chester, Conn., has opened his own picture show, and will operate shows each day and night in the week, including Sunday.
* * *
Powderhorn Park and other public parks of Minneapolis, Minn., have been installed with moving pictures. The pic- tures will deal with history and travel. A few clean come- dies will also be shown to amuse the children.
Moving pictures, in connection with illustrated songs, were recently exhibited in an entertainment given by the Napa- noch M. E. Church of Napanoch, N. Y. The entertainment consisted of four selected reels of Licensed films. An ad- mission of 25 cents was charged for adults, and 10 cents for children. This is the first time in this vicinity that a moving picture entertainment has been furnished by a church. The films were furnished through the courtesy of the Junior Order of United American Mechanics, who conduct a show every Saturday night for the benefit of the lodge.
Mr. Benjamin Michaels, proprietor of the Royal Palace Motion Picture Theater at Broadway and Dupont Street, San Francisco, Calif., was fined for exhibiting the moving picture entitled "A Dead Man's Honor." The judge pro- nounced that it was a violation of Section 2 of City Ordi- nance 76, which forbids the exhibition of films relating to hold-ups and robberies.
The latest one sprung on the film industry is the luring of men and women from "art schools," which is caused by moving picture and vaudeville theaters.
* * *
A hot discussion relative to moving pictures is at present in session in Atlanta, Ga. The reformers are not quite sure as to whether they should continue condemning the moving picture theaters from opening on Sunday or allow the pro- prietors to open and exhibit strictly religious and educa- tional pictures, and collect a percentage of the receipts. One picture theater proprietor, J. A. Robb, of the Superba Thea- ter, at 840 Whitehall Street, issued a statement that if he were allowed to open his theater on the Sabbath Day from 2 o'clock in the afternoon until 10 o'clock at night he would be willing to give a good percentage of his gross receipts to some charitable organization. He proposes to exhibit nothing but films of religious, educational and historical nature, and that all of the music will be on the sacred order.
With the Western Producers.
By Richard V. Spencer, Los Angeles.
Bison. — Mr. Fred J. Balshofer, general manager and chief director of the Bison Stock Company, who ha- been in New
York City the past few months in charge of the Coney Island factory of the company, will return to Los Angeles, July 5th, for a brief visit to make arrangements to see the stock company off on their Northern trip. The Bi.-on Com- pany of forty people will leave Los Angeles about July toth Ei 1 Hear Valley, 10b miles north in San Bernardino County, where they will take a number of films. The company will be gone from the Los Angeles studio from three to five months. With the company will be two stock cars full of horses, several more cars of scenery, costumes, properties, and other necessities. The company will not remain in Bear Valley for the entire period of their absence from the city, but will probably go as far North as Yosemite, or even farther. The new policy of the company is to remain on the road most of the time, with brief trips back to the Los An- geles studio. Mr. Balshofer will be in the city July 5th, and leave shortly after the 10th for New York City to assume his managerial duties at the Coney Island studio and factory of the New York Motion Picture Company. The stock company will be under the management of Mr. Frank E. Montgomery, who reports that the scenic settings of Bear Valley are ideal in all respects for the filming of Western stories. Weather conditions permitting, the company will put on three films weekly. It is said that the proposed trip will be the most expensive ever taken by a local film com- pany.
Young Deer Goes to New York. — Mr. James Young Deer, the local Pathe general manager and director, is in New York City on business in the interest of the company. Ac- companying him is his wife, Red Wing. The stock company will remain idle during their absence. Mr. Young Deer and his wife plan to be gone about two weeks, after which work is expected to be resumed at the studio.
Co-Operative Film Mfg. Co. are at present engaged in making a series of commercial reels. They have entered into a contract with the local Scandinavian Society to record in moving pictures their folk dances, sports, and other events of interest occurring at their annual picnic held at East Lake Park. Most of the film will be taken at the Indian Village nearby. The society has contracted for 2,500 feet of film, of which they will take four positives for distribution in Nor- way, Sweden, Denmark, and the remaining copy to be shown before other branches of the society throughout their col- onies in the United States. It is said that more than a thousand local members of the Swedish, Danish and Nor- wegian colony will take part in the dances and sports in their national costumes, which are said to be very beautiful in the ensembles.
Real Tramp "Rescues" Actor "Tramp." — That the bonds of friendship bind tightly the members of the order of "Weary Willies," knights of the road, was amply illustrated by a recent amusing incident in Long Beach while the California Motion Picture Manufacturing Company were engaged in filming a comedy near their Long Beach studio. J. E. John- son, one of the company's actors, had a role that called for the impersonation of a tramp. Part of the scenario scene business called for Johnson being pursued and pelted with stones by an angry mob. The scene was taken near Seventh and Alamitos Streets, within a block of the company's studio. The Salt- Lake railroad tracks run down Seventh and there is usually a string of box cars on the siding. Johnson, the supposed tramp, was doing his best to outrun the shower of stones, when suddenly from one of the freight cars jumped a real tramp. There was no disguise about him. He looked the part. Rushing to Johnson's aid, he gathered up a handful of stones and returned a fusilade at the actor's pursuers, wdto paused in amazement at the unexpected inter- ruption. The moving picture actors, including Johnson, waited for no explanation, but hurriedly sought safety in flight.
Co-Operative Film Manufacturing Company have entered into a contract with D. H. Warner, a local lecturer, to film 500 feet of Los Angeles Street scenes. The scenes will be photographed from the front end of a street car. Views will be taken at intervals on Broadway between gth and 2d Streets. Down Spring Street from 2d" to 7th. Up 7th to Olive Street. Sixth Street from Olive Street to the Pacific Electric Depot.
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23
Chicago Letter.
By James S. McQuade.
London observers were considerably exercised over the fact that the crowd at King George's coronation was quite appreciably smaller than that which appeared at King Ed- ward's funeral. As early as 4 a. m. on Coronation Day. it was suspected that this would be the case; at 5 a. in., the suspicion had become a probability, and by 0 a. m. the con- clusion was beyond dispute.
The cause of this difference was gravely and widely dis- cussed. Nobody would concede that any one stayed away through lack of interest. Many offered the explanation that the newspapers had alarmed the people by exaggerated state- ments about the great throng that would fill the streets. The police, though unwilling to admit that the barriers might have been .dispensed with, acknowledged that fear of them kept many away. Others attributed the diminution in numbers partly to the weather, while there were yet others who point- ed out that the large stands, erected since Edward's funeral, absorbed large numbers from the great thoroughfares.
"Another reason given," according to the London Times," "was that the picture palaces have altered the attitude of the general public towards pageants. 'Why should we stay in a crush all day, when we can see it at night in comfort, for three pence?'" quotes that journal. The reason just given was widely offered for absentation and, in the opinion of many, had a great deal to do with the lessening of the num- bers on the line of march of the procession.
Notice that the "Times" referred to picture theaters as "picture palaces." There is a name to be proud of! What a pleasant change from our "nickel theater," with all that jt conveys of tawdry cheapness and cramped air space!
The picture is great, both in power and mission, whether we realize it or not. Let us, therefore, house it with dignity and replace the hovel by the "palace."
Chicago Picture Shows
EXHIBITIONS OF KINEMACOLOR IN CHICAGO.
The Kinemacolor Company of America, with Frank Evans as representative, gave two private exhibitions daily in a parlor of the Sherman House, this city, throughout the week of June 26th.
The principal films run off were, "Lake Garda," "From Bud to Blossom," "Zoological Gardens, London," "Review of Troops by George V and the Emperor of Germany," and the "Rebel's Daughter."
In contrasting the last named film with the review of troops, which took place after the unvailing of Queen Vic- toria's monument, I was impressed by the great difference in the faces of the people shown, that is, so far as outline and natural tinting were concerned. The picture showing the splendid bodies of men, marching with mathematical precision of movement and time, revealed no expression on any face. There seemed to be a haze-like curtain that hid facial expression from the observer. And this prevailed throughout the entire picture.
In the "Rebel's Daughter," on the contrary, the facts of both men and women were brought out with life-like ac- curacy, both of changing expression and flesh tint. I had heard that the Kinemacolor process could not produce these effects and so was pleased to see with my own eyes the re- futation of the statement.
Mr. Evans explained that the London atmosphere was murky when the review of the troops was photographed, hence the haze that prevented recognition of any of the faces among the marchers. But this is a serious admission, as great pageants, once fixed, are held despite weather condi- tions, and the public demands clear reproduction in pictures or none at all.
It was observed throughout the exhibition that red and green were the prevailing colors. At no time was blue seen, brown and mahogany tints and also orange, were caught sight of once in a while, but red and green greatly pre- dominated.
"From Bud to Blossom," is an inspired poem told in pict- ures. To see the buds of various flowers open and greedily absorb the sunshine and air — each bud in its own way, and that way marked by characteristics as strong as personality in a human being — while its rich colors are unfolded to the eye, is a farther glimpse into the workings of the infinite. Here, as before, red and green rule the field of color.
In watching the pictures my eyes at no time troubled me. Quite a number of exhibitors attended the demonstrations during the week and all were cordially received by Mr. Evans.
Percy Wark, mechanical expert of the Kinemacolor Com- pany of America, was also present during the exhibitions. The party returned to New York Sunday, July 2nd.
Boston Theater, Last Monday, about <■ 30 p m . 1 into tlu- Bosti >n 'I hi ater on Madi see some good independent pictures. I pointed, lli' ood independi there all
right, but they were shown in the worst pi A poster outside announced the Rex film, "On the really line film, a- "first time shown " As a ma it was five days ,,l,i. and looked fifteen— rather rainy and badly cut up. I counted no Its, than eighteen 1 , room patches as the film was run. This is inexcus; 1 Boston Theater probably was not responsible fi.i of them, but it is not unlikely that it was at fault tor - of them, to judge from the rate of speed at which th were run. This reel was run in exactly 12}4 minutes by the watch.
The next reel, tlu- American Film Manufacturing • 1 m pany's "Witch of the Range," was given in 15 minute-, but the action seemed hurried all the way through it. The third reel, a Powers split reel, was put over m 12 minutes I am sorry to note that the operator displayed the slide ,,,' the new Union Local No. 2. It is not much of a credit to the union to have its "union label" put on a show which is as much of a speed contest as this one was.
Projection itself at the Boston, aside from the fast running, is not so bad; the light is fair, and some attempt has been made to shade the slide lights, though they do cast con- siderable light on the screen. The lights on the ceiling are shaded with cone shades, which are not deep enough for the ordinary bulb; the substitution of the "meridian" or spheri- cal type of lamp would correct this.
The manager, too, might be a little more honest with the public in announcing the films. A film is not "first time shown" on the day after its release, or five days after its release. A poster for the Essanay film of the Indianapolis auto races was exhibited outside, but the film shown was the old one of some races at Elgin, made by the American Motor Racing Picture Company. The patronage of the Boston is not as large as it was when it first turned Inde- pendent and used a real service of first-run films on the re- lease dates, and gave them a more nearly normal time of running than they now get.
Casino Theater. — Across the street, the Casino Theater presents a fairly good show. First-run Licensed films are used, and are not badly projected, though the throw i- SO short as to necessitate the use of a lens of too short focus for really good results. This house has a real piano player, who follows the pictures very closely, and almost makes them talk. The screen is badly light-struck by the light from the rear ceiling lights, which are high candle power lamps enclosed in orange colored lanterns, of just the worst color possible to injure the photographic tones of the pic- ture on the screen. I have noticed that the warm colors (red, orange, yellow) affect a picture on the curtain far more than do the colder colors of green or blue. Green is the only color of light which may strike the screen in any quantity without almost killing the picture, and at the same time it serves its purpose of illuminating the house well.
Orpheum Theater.— I hate to say it, but it is the truth: the other day I saw the fine Eclipse production of "The Taming of the Shrew" at this theater, and during the run- ning of this reel, as well as of others, the operator neglected his "light until the entire lower half of the curtain was a yellow haze. This happened not only once, but three or four times, and each time the picture was allowed to show yel'ow corners for fully a minute. Such careless operating as this ought not to be permitted at all in the Orpheum, which has many times been pointed out the best picture theater in Chicago. Conditions for projection at the Or- pheum are not of the best anyway, and. the lower part of the picture, for several reasons, deserves more attention than it generally gets. The foreground of nearly all pictures is in shadow, as a rule, when the picture is taken, resulting in a dense part of the film there. Also, in many theaters, the lower half, or more, of the screen is insufficiently protected from extraneous light, tending to kill the picture there if not very well lighted. So it behooves the operators to keep their lamps well trimmed and to handle their carbons care- fully, if they wish to get the most out of the picture.
Album Theater.— This house, located at Madison Street and Western Avenue, is another horrible example of how not to do it. Three reels of Independent films, mostly old ones, are shown very poorly on a streaky aluminum screen. The music was very bad — of the "jackass" variety, ragtime and racket. The theater was altogether too dark, though the screen was light-shot from the lights outside. A row of posts down the middle of the house spoils all the best
24
THE MOVING PICTURE WORLD
seats, and renders necessary a side throw, which does not improve matters any. The only real good thing on the program was the illustrated song, by a girl singer with a good voice, though even this was marred by the drummer's senseless racket.
Bell Theater. — Across the street, it was a positive relief to look at the picture at the Bell Theater. Projection very fine, picture clear, steady and free from flicker, not hurried a bit even though it was the last show. The ideal of a per- fect motion picture is closely approached here. Licensed films are used, service of about 2, 10 and 30 days respec- tively. Business is so good at the Bell that it can afford to run matinees every day, which can be said of very few houses out of the loop. Operator liemo Annaberg kept his ' light very well, and the work of the piano player was worthy of note. The Messrs. Bell certainly have a house to be proud of.
Garfield Theater. — The Garfield Theater, at Madison Street and Francisco Avenue, is another modern house devoted to photoplays. A big electric sign outside announces "Photo- plays and Songs," and another sign below the canopy tells you to "Enjoy yourself. We provide the show." One can enjoy himself here, all right. The picture on the curtain is very good, the seats comfortably and roomy, and the music excellent. The house seats 740, and though it was a hot night, only a few seats were vacant, showing that the neigh- borhood had learned to appreciate good pictures. Service is licensed, much like that of the Bell Theater, 2, 7 and 20 days. The light was well handled by Operator Halliday, though a better and brighter picture might be secured if an aluminum curtain were used, as the throw is pretty long and the picture by no means small.
Lyceum Theater. — This is a little store show at Malison Street and Sacramento Boulevard. It is not at all inviting, as the manager has plastered it up with stock posters of various, kinds, making the place look more like a circus than a theater. The picture is fair, but nothing extra. Inde- pendent films are used here.
Dreamland Theater. — This house, a few doors west of the Lyceum, is one of the prettiest little theaters in the city. It is done in pure Mission style, without any plaster or gingerbread work. The picture within it, however, is very poor. Lights are not properly shaded, and the operator can not get a very good light, even with 60 amperes of alter- nating current, because of improper optical conditions at the machine. The baseboard of the machine is one suitable for use with a short focus lens, while the long throw at the Dreamland makes necessary a 10-inch lens, which makes it impossible to get a good light with a short baseboard. It seems to me that machine manufacturers ought to supply baseboards of sufficient length to allow of the right dis- tance between condensers and machine, even with long focus lenses.
Albany Theater. — Situated just west of the Dreamland, this house is projecting one of the best pictures in the city. Manager Hoehn says that he would rather give full time to all his reels, and his program shows it. The light, in the hands of J. P. Lucas, the operator, was very fine, the pic- ture steady, and the show altogether a very pleasant one. Mr. Hoehn does not object to having the reels a little old, since he can have his choice of them, and also can have the opinions of his friends as to their quality. Licensed films are used. C. YOUNG.
Chicago Film Brevities
Irvin G. Ries, moving picture operator of the National Theater, Akron, O., owned by L. A. Shiappacasse, was in the city last Monday. Mr. Shiappacasse commends very highly the ability of Mr. Ries. He has held his position for the last three years. The National is a 10-cent Licensed theater, running pictures exclusively. Four reels daily are used, the service being furnished by the General Films Co.'s branch at Pittsburg. The National will run all summer, as has been its custom for the past five years.
The Boston Theater (Independent) on East Madison Street, has had a high-class musical attraction for the past five weeks in the Apollo quartet, the members being tal- ented and experienced vocalists. R. Bruce Logan, founder of the quartet, is the basso; II. Gluckstone, baritone; H. Ryan, first tenor, and C. A. Broadbridge, second tenor. The Boston is holding its own during the hot weather.
James Campbell Boyle, who operateds a Licensed picture theater in Calgary, Canada, was in the city recently.
E. T. League, owner of the Crystal Theater. Plymouth, Ind., has under consideration the taking over of a lease on the Nelson Opera House, Logansport. Ind. The Nelson
has been a legitimate house playing traveling attractions. It seats 1500 people. Mr. League will run it henceforth as a straight picture theater, with the best Licensed service ob- tainable. A seven-piece orchestra will be used. It is the intention to keep the Nelson open throughout the summer.
Manager Sherwood, of the Fuller Opera House and the Fairplay Theater, Madison, Wis., called last week. He states that business is very good. He has raised the qual- ity of his service during the warm weather, a policy that it would be well for other exhibitors to consider. Manager Sherwood uses a Licensed service.
Joseph G. Rhode, owner and manager of the Rhode Opera House, Kenosha, Wis., was in the city last week and ar- ranged for advanced bookings with the General Film Co.'s branch at 117 N. Dearborn. He reports excellent business.
H. R. Bennett, of the Idle Hour Theater, Michigan City, Ind., was a caller at the General Film Company's branch, 117 N. Dearborn. He reports that his business is picking up, that the car shops are now running with full force, and that money is plentiful.
Chas. Smith, owner of the Lyric Theater, Elgin, 111., paid a visit last week and reported excellent business for the Essanay auto race pictures. He played against the Wallace circus, but got his share of the 25,000 people that came from surrounding towns.
C. C. Hinebaugh, of South Bend, Ind., has sold the Royal in that city and secured the Indiana Theater, in the same city. The Indiana has a better location and a larger ca- pacity than the Royal. Mr. Hinebaugh arranged with th? General Film Co.'s branch at 117 X. Dearborn for service.
H. C. Engledrum, of the Majestic Theater, Paris, 111., called at the General Film Company's office, 17-19 S. Wabash, and arranged for a daily change in service, instead of three times per week as formerly.
Manager F. C. Aiken, of the General Film Company's branch, 17-19 S. Wabash, reports a continued big demand for the auto races at Indianapolis, "Ten Nights in a Bar Room," "Faust," and "Enoch Arden."
T. L. Siebert, an old-time vaudeville man, has secured a theater at Lick Springs, Ind. He will remodel the theater, which henceforth will be known as the Orpheum. It will be opened July 1st. Mr. Siebert contracted last week with the General Film Company's branch, 435 N. Clark St., for a complete Kinodrome service.
C. E. Cole, owner and manager of the Royal Theater, Elkhart, Ind., has closed his house for remodeling. He will open again in a few weeks. Mr. Cole gets his service from the General Film Company's office at 435 N. Clark St.
Friends of "Daddy" Richardson, one of the most beloved old men in the ranks of picture players, and a most valued member of the Selig Western Company, will be grieved to learn that he has been seriously ill for the last two weeks,, and that his physicians have little hope for his recovery.
E. H. Montagu, European representative of the Selig Poly- scope Company, writes me that Coronation week was re- markable for the fine decorations, brilliant illuminations and splendid pageants seen. "The streets were certainly not crowded," writes Mr. Montagu. "I walked down from home at midday and had a fine view of the king and queen in their crowns and jewels."
The Industrial Moving Picture Company recently finished a picture of the Elks' Convention at Aberdeen, S. D. The company has also completed 4,000 feet of industrial subjects, showing the timber and farming industries in Alabama.
The French-American Producing Company, of this city, has arranged to take pictures of the Sane Fourth Celebration in Chicago, devoting 2,000 feet of film to the subject.
Arrangements have recently been made for dispatching a company of actors, cameramen, workmen, tec, from the Selig Western plant, to Albuquerque, New Mexico, early in August. The productions will be in charge of Hobart Bos- worth. Most of the subjects will be Indian stories, and many Indians of that section have been engaged to take part in the productions. Iseleta, in the South. Old towns in the East, and Tacus in the North, have been selected as the scenes of production.
New animal quarters are being built at the Selig plant for the large menagerie carried by the Selig Company. A iarge force of carpenters has been engaged in building new summer cages for the dumb players. Huge quarters of con- crete, steel and wood, will house the lions, tigers, wolves, pumas, bears, etc. Running water will be a comfortable feature of these cages. The elephants, camels, etc.. will all be sheltered in a big arena adjoining the cages.
Frank Cook, program manager of the Saxe enterprises. Mil- waukee, has informed me that work on the Theatorium will begin about a week from date. He advised me that all rec- ords at the Orpheum were broken by the \uto Races at Indianapolis. ,
THE MOVING PICTURE WORLD
25
Boston.
The Independent houses of Boston'"put it over" on their Licensed competitors as far as the coronation pictures of George V. are concerned. Independent houses were exhib- iting their reels all day Saturday, July 1. Licensed houses did not receive the picture much before 9 p. m. on that day. The Licensed reels became lost for a short time in the Bos- ton depot, owing to some minor wreck, and several other minor delays conspired to hold the Pathe reel from finding its way to the General Film Company during the day.
Biograph's "Fighting Blood" came in for much favorable comment in local houses. It is not often that Biograph at- tempts "action" pictures; but when they do— they usually make good.
There is one manager in Boston who is not suffering from the heat, to judge from his looks. His name is Mr. J. Lourie, of the Beacon Theater, Tremont Street. Mr. Lourie is as "brown as a nut," due to a week's fishing trip in Maine. He has put in a very busy season, going between his Boston house and his Colonial Theater, Nashua, N. H. The Colonial was closed on Saturday, July 1, and will reopen during the middle of August. Mr. Lourie states that he is well satis- fied with the Colonial's business, and expects to have a big trade next season.
Manager Joe Roth revived "Nero at the Burning of Rome" for his patrons. "By special request" was the reason given by Manager Roth. The Ambrosio reel drew very well.
Mr. George Delmore has signed a contract to take charge of the picture programs for the Bowdoin Square and Howard theaters, beginning in August. Mr. Delmore remarked that he feels sure he can make happy selections for the picture pro- grams, but that good machines are also very much needed to insure good results. Mr. Delmore intends to install the Powers Cameragraph No. 6 in the theaters.
Rumor has it that the large National Theater, which was expected to open last fall, but which is still dark, will surely open in August. The house will open with either "pop" vaudeville and pictures, or a stock company, as the attraction. The house is controlled by B. F. Keith.
The Columbia Theater, which Marcus Loew has acquired, continues to be a point of perplexity for all concerned. The latest news from the house is to the effect that Messrs. Edwards and Farren have secured a further extension of one week on the house. It is stated that if the required bond is filed the Columbia will remain a burlesque house. The formal transfer of the house to Mr. Loew and his associates has been delayed. The house was acquired by the Loew interests through a foreclosure sale, under which Mr. Loew bought the theater proper. Now it comes to the surface that Messrs. Edwards and Farren held a lease on a certain sec- tion of the Columbia which was untouched by this foreclos- ure sale. Court proceedings have been in order for some months now, and the final edict was to the effect that Messrs. Farren and Edwards must deposit, as a bond, $125,000, to cover any judgment for damages secured by Marcus Loew, as he stated he was about to institute a suit against the thea- ter owners. However, the bond was not filed within the re-- quired time, and notice was given to transfer the property to Mr. Loew's interests, owing to this default. HENRY.
Martin to finer efforts by their goodfellowship and congr
Clyde Martin's Tour a Big Success.
Clyde Martin, who has been "playing the pictures" while en route for the Selig Polyscope Co., for the last two months, came into the city Monday, June 26, and will remain for a few days.
Mr. Martin traveled through Indiana, Kentucky and Ohio during the trip just ended. His next will embrace Illinois, Missouri, Kansas, Colorado, Wyoming and Iowa, and will last about 60 days. ,
Mr. Martin has worked up a strong accompaniment for pictures, giving sound effects in addition to piano and drums. He uses two men for these effects while on the road, pick- ing them up in various towns and instructing them during the day. One of these men he places in the orchestra pit, the other behind the curtain. Mr. Martin is constantly im- proving the sound effects, which met with considerable favor during his tour.
Managers have been much pleased with Mr. Martin's visit and, in many instances, they have added drummers after witnessing his accompaniment, being impressed with the value of a good drummer in a picture house. It was the custom for managers of houses, other than the one in which he appeared, to have their musical forces attend the show to judge of his "playing the pictures." On many occasions fif- teen or more musicians occupied the first row one night. These musicians were always congenial, and spurred Mr.
lations.
gratu-
In Keiths theater, Cleveland, fourteen managers 01' other theaters wer. the night Mr. Martin played there The
Large audience contributed liberal applause after each num- ber, and hearty commendations were paid him by the ra
timers.
Mr. Martin speaks in terms of high praise of the picture managers he met on his travels. "They are business men ot good standing m their communities and have -ucceeded in attracting the very best people to their houses," he em- phatically states.
"The picture business has suffered considerably of late lrom the hot weather, but the volume before that gave pros- perous results," says Mr. Martin. He praises the picture houses of Cincinnati and Louisville as being fine structures thoroughly modern and fire-proof, and specially built for pic- tures exclusively.
Mr Martin desires to thank managers for the courtesies extended him and for the liberal announcements made in ad- vance, in newspapers and by posters, of Selig night. During the entire trip Mr. Martin says that Selig night never failed to bring a crowded house.
He'd Seen it Before
(Puck.) *, "Tounng Europe" party was a member named McCarty, Who had never been away from home before; And though all his prior travel had been on the country gravel, Yet to him the whole trip seemed an awful bore. At last one day we asked him, and in a manner gentle taxed him, To inform us why the journey seemed so slow; Then he gave this explanation, to our mighty consternation: "I have seen it at the moving-picture show."
Well, we showed him every wonder, but he treated us like dunder- Heads, he constantly felt more and more ennui; What we thought must sure impress him only managed to distress him, And he rested while we raved about Paree. Up the highest Alps we took him, but emotion never shook him As he gazed ten thousand feet to depths below; And he said (it was heartrending, as on ropes we were descending): "I have seen it at the moving-picture show."
Once some brigands bold entrapped us, took our coin and then kidnapped us And at point of knives were leading us away, When McCarty, little hero, grabbed a gun and cool as Nero,
Plugged the low-browed scoundrels a la U. S. A. Then we wrung his hand and kissed him, but our gratitude all missed him: "Why," said he, "that's very common, don't you know, "In at least a dozen cities, and with phonographic ditties, "I have seen it at the moving-picture show."
So we gave it up despairing, for the effort was too wearing,
And we figured that we'd all be old and gray Ere we found, within earth's borders, anything those film- recorders
Couldn't show him for a nickel every day. And if e'er the pearly portal opens to this pampered mortal,
As I trust it will when he is done below, I believe he'll tell St. Peter, the alleged official greeter:
"I have seen it at the moving-picture show!"
LECTURES ON FEATURE FILMS. The Moving Picture World has repeatedly dwelt on the need of a lecture or "picture reading" in connection with feature films. If such films are properly presented and duly advertised, they have ten times the drawing power of the ordinary program. The public demands and welcomes these lectures, wherever they have been heard. They are not an experiment, but have for the last five years proven distinct successes wherever they have been put before the public. The peer and pioneer of this most valuable feature of the moving picture entertainment is Mr. W. Stephen Bush, who has traveled in nearly every part of the country, presenting his lectures on current or older films. Hun- dreds of testimonials of exhibitors attest the fact of his usefulness. The services of Mr. Bush may be secured through the office of this paper.
26
THE MOVING PICTURE WORLD
Coliseum Theater, Seattle, Wash.
The cuts herewith show not only one of the most perfect theaters, but the largest in the United States. It is the Coliseum Theater at Seattle Wash., formerly the Orpheum Theater. The auditorium has a seating capacity of 2600, with 22 boxes and loges in reserved sections. On each side of the mezzaine floor are u boxes and loges, and this makes a good arrangement for box parties. The 2600 mahogany opera chairs are roomy, being 24 inches in width. The layout of the house is very simple, as the _'6oo seats are on one floor with no balconies, thus doing away with crowded houses.
( )n entering the theater, which has a frontage of 30 feet, there is a large open lobby about 60 feet long, which is well equipped with mirrors, which the women patrons appreciate. Artistic posters are placed about the lobby, care, however, being taken in selecting posters.
From the lobby we enter the foyer, which is 90 by 40 feet. In the foyer there are smoking and retiring rooms, one for the ladies and one for the gentlemen, which are in easy reach of all. From the foyer there are three entrances lead- ing to the mezzaine floor, three six-foot aisles permit the handling of patrons without unnecessary crowding. The aisles and foyer are carpeted in green with velvet to match. The ceiling and side-wall decorations are very pleasing. Two large chandeliers adorn the ceiling. The exits are very favor- able points about the Coliseum, there being nine wide exits leading from the mezzaine floor to the street, other exits being from the stage and foyer.
The house is closed between five and seven o'clock, and is then thoroughly cleaned and ventilated, thus having no use for electric fans, even in hot weather.
One of the features of the Coliseum is the operating room, which is hung from the ceiling directly in center with the picture curtain, which is a 70-foot throw. The operator's room is an iron frame, metal-lined, passing all requirements of the underwriters. It is furnished with two Powers No. 6 caineragraphs, one dissolving stereopticon, and one spot light, with an extra emergency lamp. The lighting of the house is very good; a newspaper can easily be read at any time during the show.
The policy of the theater is first-run Independent pictures, with two of the best vocalists to be had. They are Mac Thurston, the famous soprano, and Percy Bretland, the pop- ular baritone.
The live-piece orchestra is under the direction of Prof.
Chas. Higgins. The orchestra plays to the pictures in a very pleasing manner, Prof.. Higgins being very careful in his choice of music to accompany the pictures.
Mr. S. A. Powell, formerly in the East, is acting in the capacity of manager. Mr. Powell's experience in the show business dates back twelve years. Mr. H. L. Betten, of sim- ilar experience, is the treasurer. Mr. Powell stated that he proposes to give Seattle the best shows that have ever been given here.
A neat, clean house with uniformed ushers, an excellent show and good management make things look as though the Coliseum is to be a success from the start.
L. L. GOLDSMITH.
The Universal Applause Supply Company.
Become a Subscriber and Dispense with Quality Films.
Being an old moving picture man, I was startled the other ' day by reading in display type this advertisement, which is here repeated:
No more Failures! No more Failures!! Success guaranteed to theaters, photoplay halls, exhibitors. We will boost your business.
Address the U. A. S. Co. (Unlimited.)
Street.
I lost no time in finding the place, which consisted of a suite of spacious offices in charge of a strong clerical force. I explained to the courteous clerk in the reception hall that I desired to see the head manager of the concern.
"Mr. Boreas T. Wyndblough is the gentleman you wish to see," replied the clerk, and directed me into the ante- chamber of the rear office. I waited there some few minutea and was then ushered into the presence of Mr. Wyndblough.
"You want an idea of our work here?" queried Mr. W. with an engaging smile. "Pleased to give it to you. sir. You see we are the Universal Applause Supply Company, organized and chartered under the laws of Delaware. New Mexico and New Jersey, with a paid-in capital of $1,000,000. Our operations are national in scope and our motto is spot cash for spot service. If an exhibitor or other showman fails, it is his own fault entirely. We supply applause at rates within the reach of all. We distinguish four grades of work, ordinary, plain applause $20 a month in advance, a stronger grade where the pictures are older and the illus- trated singer is an amateur and a third grade, a trifle higher in price, where we have to down opposition."
"What is your fourth grade?" I asked, much edified by this recital.
"That. sir. is the star service. Where moving pictures and vaudeville are exhibited together at 5 cents admission, it is no easy matter to work up applause. It requires some courage and proper physique to back it up to deliberately applaud at the end of the acts. Nevertheless, we pride our- selves on the excellence of this branch of our service. Let me show you the photos of our Grade C corps."
.Mr. Wyndblough showed me a choice collection of strong looking gentlemen, who had evidently paid no heed, when at the time of being taken they had been admonished to look pleasant.
"We take only picked men for this work." continued Mr. B. T. W., growing enthusiastic. "Only men having experi- ence in practical primary work and general electioneering and graduates of the B. B. A. are eligible."
"What is the B. B. A.?" I asked.
"The Bowery Bouncers Academy." replied Wyndblough. "We make an extra charge when one of our men is wounded in a riot or when the 5-cent artists have to be carried home; I mean escorted to their hotels, for it may happen that the police or sheriff stand in with the mob."
"We have a special service, which we furnish on request. Tin horns and stamping of feet for Western shows, leading the audience in whistling, laughing uproariously at any film labeled comic, sobbing, and audible tears for melodramas are some of the items in this feature service. It stimulates the feelings of the audience and gives the place, where we send our skilled corps of promoters and accelerators, a fa- miliar and home-like air. If the crowd is slow in catching up the chorus of the illustrated song, our select staff of vocal prompters will be found useful. They are all strong and of highly tested lung capacity."
Mr. Wyndblough insisted on my taking a cigar, and concluded:
"You see. therefore, that all this talk about the quality of the picture is quite beside the mark. Let the manufac- turer produce some kind of a film, let there be a machine, through which this film may be threaded and run and we do the rest. The public will never and need never know."
THE MOVING PICTURE WORLD
27
The Strike That Failed.
A Short Story from Moving Picture Life.
Wixey, the operator, and "Pomp Owens," the piano player and singer of illustrated songs, were sitting in the "knockery" of the Elite Photoplay Theater at the most unusual hour of Q A. M. They were in the airing of their grievances nobly supported by the third member of the Elite's working staff, a strange youth of uncertain complexion and known by the odd sobriquet of "Snakes." "Snakes" was prematurely bald, very obliging and ambitious and positively unequaled as a worker of effects. If things were getting dull and dreary on the screen and a death scene or farewell struggle lasted too long "Snakes," with a few tremendous, if well chosen thumps behind the scenes, would rouse the audience to new interest. It was said that "Snakes" was a high graduate from a snake charming college somewhere in the South and that he had handled all varieties of venomous reptiles, that he had been bitten often, but was immune and that he had left the circus business, because the daughter of a wealthy farmer whom he had met at a county fair, had jilted him, after giving him great hope.
Wixey ran his skilled fingers along the sprocket holes of a suspicious film, with all surgical instruments close at hand. "Pomp" was looking over some music. It was very warm and "Snakes" asked whether he should get some lemons for making a cooling drink, he was such a loyal, helpful soul. Wixey sent him forth and as he came back began to re- hearse the speech he intended addressing to the proprietor that very morning. The "knockery" was a favorite place for rehearsing the speeches that were to be addressed to the owner or for giving belated vent to those speeches that should have been or would have been addressed to him in the office, but never were.
"Well." said Wixey, "I guess there'll be another operator here a week from tomorrow. Did you see a ghost in the picture last night? Muller came into the booth twice to kick last night and I cannot stand it any more. Honest, was there anything wrong?"
"Why no." answered "Pomp" absently, for he took no interest in any grievance but his own. "I am thumping the keys the best I know how and the other day Muller swore because I played a lot of German airs while they showed how Limburger was made. Said it made his German patrons sore."
"Yes," put in "Snakes" timidly, "a fellow gets no credit nowadays for trying to be the real cheese."
"You remember." continued Wixey, "when we had 'The Old Homestead' booked for Thanksgiving and they sent us 'The Sponge Fishers of Cuba.' Why I went right into the city and got the reel out of the express office; it was on its way- to Podunk. though we had paid a premium for it. What thanks do I get?"
"Xone." replied "Pomp," sententiously. "And I don't like his remarks about the way I fix my hair. Say, Wixey, would you stay for three more bucks?"
"Really." remarked Wixey, "I care more for kind treat- ment. I am going to tell him (Mr. Muller) you forget an operator has feelings and when the picture gets out of focus a moment, it does not help me to have you grind your teeth and glare at me and say things."
"I think I'll go on the Heath and Doctor Circuit any- way," volunteered "Pomp," who often suffered from vision- ary hopes of large salaries. "These 'boobs' here would not give you a hand, if you played your fingers off."
"Why don't you strike, boys," chimed in "Snakes," with many crafty winks. "I am with you and I vouch for Rosie, the ticket taker."
It was well known that Rosie regarded "Snakes" as one of the world's humble, and but for her, unappreciated heroes.
"I think." resumed Wixey, "we had better arbitrate. Bet- ter treatment, no calling of names and a raise. If we do not get what we want we go out this evening." He paused for a reply.
"Suits me." asserted "Pomp." "I will talk to him if you want me to."
This was agreed to at once and an acute stage in the Elite's phase of the struggle between capital and labor seemed to have arrived. "Pomp" gave a particularly de- fiant attitude to his hand-made coiffure and the hopes of all rose high, when the side door opened and Mr. Muller •walked in.
He was pleased to see the boys at work so early, and told them so.
"That's the spirit." continued Mr. Muller. who was really doing a fine business at the Elite. "1 appreciate it. b You need a little shaking up once in a while, but you 111,1 a bad lot by any means. [ had just about decided to raise you all around and I think I'll do it now. Come with me. boys, across the way to Gaalbing's. We'll have a lute and a drop to celebrate. Will you come?"
They came
Outline of How to Write a Photoplay.
By Everett McNeil. 1 Synopsis. Write a synopsis of the storv ..i the play. Makefile synopsis as brief as possible, and vet have it tell the real storv of the play.
2. Cast of Characters. — Follow the synopsis with a cast of all the important characters. Describe each importani character briefly, not forgetting that the producers know- enough to know the obvious withoul being told.
3. The Scenario Proper.— Follow the cast of charai with the scenario proper. Divide the scenario into giving each change in the location of the action a separate scene — that is, whenever the plot renders it necessary i r the operator to change the position of bis camera, as from an interior to an exterior view, begin a new scene. Number the scenes consecutively to the end of the play. At the be- ginning of each seem, give a brief hut clear word picture of the setting-, of the scene: also the position and action ol the characters introduced when the picture first flashes on the screen. Do not overburden these descriptions with words, and yet tell all that it is necessary for the proper picturing of the scene, again remembering that the produi are wise in these things. Xow carefully study out the n< 1 action for each scene; and then describe 'it briefly, bi careful to cut out every act that Iocs not have a direct hear- ing on the development of the plot. Do not enter too much into details in these descriptions. One again the produi are wise in these things, and need only pointers. Thej supply all the details, when the details are obvious from the context.
Use sub-titles or leaders sparingly — only when nee to the proper understanding of the play. Make the action in the pictures tell the story as nearly as possible. Never u.se a note or a letter, unless the action absolutely demands it.
Introduce your important characters in the first scene, when possible, and begin the scene with a situation that will at once arouse interest in what is to follow. Then be sure that you satisfy this interest bv a logical development of the plot and the interest to the climax. Then stop. Xo anti- climaxes needed. Have only two or three leading charac- ters, and confine the plot to them. Xo side complications are needed.
Do not introduce bar-room scenes, drunkenness, needles, drinking, brutal murders, robberies, etc. Keep your play- clean. Get as much uplift in them as you can. A good moving picture play can be made as powerful, nay. more powerful, for good than a good sermon.
In conclusion, a few words regarding the preparation of the manuscript may not be amis-:
Write on one side of the paper.
Do not roll, fold the manuscript.
Use a typewriter, if possible. Editors of scenarios are busy people and cannot take time to study out illegible handwriting.
Use two long sizes of envelopes, one to send the manu- script in. the other for the use of the editor, if he returns the manscript. Stick the proper amount of stamp- on the return envelope. The return envelope should be a size smaller than the envelope in which the manuscript i- sent, so that it can be enclosed with the manuscript without fold- ing. Also put your name and address on the return envelope.
Do not write in a week to ask what has been done with your manuscript. Wait a month, even six weeks before writing.
Always keep a copy of every manuscript sent out. also an account of when and where sent and returned.
In every way in the preparation of the manuscript, try t<-> help the editor to come to a prompt and a just decision, by having the manuscript correctly and clearly written, so that neither eye nor the brain will have to study over it in order to understand its meaning.
28
THE MOVING PICTURE WORLD
■A
^
Ml
Zbl
CHAS. K. FRENCH,
Assistant Director and Leading Man of the Western Pathe Stock Company.
THE MOVING PICTURE WORLD
Progress of the Independent Product.
Once in a while we hear particular praise of some of the moving picture productions of several years ago and comparisons not always favorable to present day effort. We are inclined to believe that this is hardly fair and just criticism, and think that the critic who has an idea that better work was done in former years overlooks a very important factor in arriving at such a conclusion. Years ago the moving picture was a novelty and was not com- pelled to stand the searching criticisms and comparisons of today. The public had no standard to go by in the early days in regard to photographic quality, stagecraft, proper presentation of plot, or the hundred and one fine points now so well known. All producers and film manufacturers are well aware that many an oversight in small details, that would pass absolutely unnoticed a few years ago, will often prove sufficient now to spell complete failure. There can be no question but that th,e quality in every respect of the photoplay has advanced in a marked degree in the past year or two and we are not now speaking of the work of any one manufacturer, but of the product of every manufacturer in the field. A much higher standard is imperative now than ever before and undoubtedly a still better standard will have to be reached by every film manu- facturer who would maintain his hold on public favor and a foremost place in the picture play market. This will be still more the case when the open market becomes an assured fact.
That the product of certain manufacturers is meeting with its share of public approbation, the following sympo- sium of recent commendatory letters should convince the most skeptical. We have seen and read a great many others, but cannot afford space at the present time to print more.
THE AMERICAN FILM MANUFACTURING CO., May 1, 1911.
Chicago, 111. Gentlemen— We get two Flying A every week and our patrons look for them in advance. Our people are going wild over your Western releases, the applause drowning the orchestra.
W. E. Sands, Mgr., Temple Theater, Hagerstown, Md.
May 4, 1911.
AMERICAN FILM MFG. CO., Ashland Block, Chicago, 111. Gentlemen — Your late Western releases certainly are the goods out here. We ran "Bud Nevins, Bad Man" all day to crowded houses and have only to show American Posters now to insure great business. Am booking two American Cowboy films every week and will continue to do so.
Yours restpeetfully, Albin Czech, Prop., Wonderland Theater, 1335 Milwaukee Ave., Chicago, 111.
March 31, 1911.
CHAMPION FILM CO., New York City. Gentlemen — We ran "Old Man and Jim" last night and to say that it li by far the best thing in the film line in many moons is putting It weak, and I have seen some mighty good ones. We have had all the biggest features, both independent and licensed, but the "Old Man and Jim" has them all beat. If this is a sample of future "Champs" then let me say we will make it hot for our exchange if they do not furnish all "Champs" promptly.
Sincerely, Chas. H. Lynch, of Rothenberg & Lynch, Spring Valley 111.
GREAT NORTHERN FILM CO., New York City. Gentlemen — Can you send me some more portraits of scenes of the playi In your film? I always get one of your films each week and I am sorry I can't get more. They go good here.
Sincerely yours, A. D. Resniek, Mgr., The New Casino Theater, 2S33 Cross St., Philadelphia.
New York City. Jan. 25, 1911.
Gentlemen — -We are using Independent service and have enjoyed many of your beautiful films. Have vour pictures for display in our lobby on Eclair Day, as we have been featuring them? The people down here were wedded to Association reels, but we have convinced them the Independents can't be beat.
The Gem Theater, 288 Oak St., Palestine, Tex.
ECLAIR FILM CO., October 25, 1910.
New York City. Gentlemen — To me your releases are the acme of perfection in photography and it is a real joy to show them. I use ninety day old films and if I could would make a feature of all your releases — would have Eclair days. Yours truly, Geo. H. Cox, The Elite Theater and Airdome, Hays, Kansas.
THE INDEPENDENT MOVING PICTURES CO., March 5. 1911.
New York City. Gentlemen — I use all Imp Releases and repeat on some of them. I would just as soon go out of business as be without an Imp picture.
L. Miller, Royal Theater, Delphos, 0.
MR. R. PRIEUR, April 4. 1911.
10 East 15th St., New York City. Gentlemen — Please send me a list of your releases for the coming four weeks, as I want to feature Lux films. Like them best of all the releases I get.
W. J. DeLamater, Crown Theater, San Antonio, Tex.
GREAT NOBTHEHN FILM CO., April 8, 1011.
New York I Gentlemen— I h Ish uu and
on the films you a I do till
photography, acting, and ro i
a hie house here in PI the comm
gratifying.
Yours truly,
(;. li. Graff, 28 N. Ninth St., I I Pa.
April -
IND. MOVING PICTURES CO.. New York City.
Gentlemen — We would like If possible to get the pictnn Imp
players for use In the lobby of run- theater, our patrons like the Imp pictures especially. Your Cuban ph-tures are certainly fine and ;ir.> greatly appreciated by the theatergoers here.
Yours truly, A. II. Buckley, The It.jy:. i. Longmonl
April 1, 1911.
CHAMPION FILM CO., New York.
Gentlemen — I have shown your film "The Old Man and .Iliu" and cannot speak too highly of it. For a military and educational picture li could not be excelled. I think I would be safe In saying that nine tenths of the school children of this town saw the picture. I am now looking forward to the time when I can run one of your historlcals per week. Very truly, W. A, Coulter, Family Theatorlum, Grove City, Pa.
MR. R. PRIEUR. New York City. Dear Sir — I am running either first or second run I.ux films at both of my houses — the Crescent and the PIcto — and am anxious to get all 'tie advance Information I can, so please place my name on your mailing list. I find your double comedy subjects, or rather reels, big winners. Yours truly, Wm. F. Neil, The Picto Amusement Co., Chattanooga, Tenn.
March 28, 1911.
NESTOR FILM MFG. CO., New York City. Gentlemen — We are great advocates of "Nestoritls" and enjoy the pleas- ure of advertising them. Your picture "In Commissioned Ranks" is a gem. We invited the newspaper critics to see this picture and it was announced to be the best that they had ever witnessed. Yours respectfully.
C. Whitthorne. Star Theater, Vallejo, Cal.
NESTOR FILMS CO., New York. Dear Sir — Just a word of praise in regard to your reel "In the Commis- sioned Ranks." It was all you said It was, only twice better. Keep it up. Nestor for mine.
Yours truly, Nathan Offer, Mgr. Independent Amusement Co., Rock Springs, Wyo.
May, 1911.
POWERS CO.,
New York, N. Y. Gentlemen — Our houses with about ten others in this section have jumped to the Independent side the past month, and so far all are very well pleased. We have run a number of your pictures, having "Cupid's Monkey- wrench" and "Touring Athens" last night. Your pictures are good. Very respectfully, The S-pragg Amusement Co., Ben L. Morris, Sec Bellaire, O.
May 7, 1911.
THE POWERS CO.,
New York City, X. Y. Gentlemen — My several houses have always looked forward with extreme pleasure to a Powers release and I have watched the rapid strides you have made In excellence of your photography. Powers pictures of today are unusually good.
Sincerely yours. F. F. Peters, The Peters Circuit. Corning, N. Y.
REX CO., March 29, 1911.
New York City. Gentlemen — Just a word of thanks for your fine film. My theater has contracted for your film, first run, all releases. We wish to congratulate you on artistic taste and knowledge of stagecraft.
The Class "A" Theater, H. J. Brown, Mgr., Seattle, Wash.
April
1911.
THANHOUSER CO..
New Rochelle, N. Y. Gentlemen — We are using two Tbanhousers a week and would use more If we could get them. We never miss a chance to advertise and feature them, especially the "Thanhouser Kid." who is a great favorite with uur patrons.
Yours respectfully. Harry D. Mapes. Adv. Mgr., Fairyland Theater. Waterloo, Iowa.
THANHOUSER CO.,
New Rochelle, X. Y. Gentlemen — We are now getting two Tbanhousers instead of one each week. We ran "Robert Emmet" the other day and must say they don't come any better.
Sydney Jacobson. Mgr.. Crystal Theater. 612 Seventh St.. X. W.. Washington, D. C.
Dec. 22, 1910.
YANKEE FILM CO., New York City. Gentlemen — About a month ago we changed to Independent service. It was the best move we ever made. The Yankee film "A Ward of Uncle Sam" was one of the greatest pictures ever shown on a screen. Have Instructed the Exchange that we must have all of the Yankee releases. The Yankee films are certainly great drawing cards for any theater. Yours truly, John F. Meth, Mgr., Grand Theater. Springfield, 111.
30
THE MOVING PICTURE WORLD
">. y. x..'0~coo"»t
THE KALEM STOCK COMPANY IN IRELAND.
THE MOVING PICTURE WORLD
31
A Kaleirt Girl in Ireland.
Miss Agnes Mapes, writing to her brother in New York, says:
Beaufort Hotel, Beaufort, County Kerry, Ireland.
Here we are established at Killarney Lakes, though this particular spot is' called Beaufort. Such a beautiful spot! — right out in .the country, the mountains within a stone's throw, nearly, and we can walk to Dunloe Gap in about twenty minutes. From Cork, Monday morning we took the 10:30 a. m. tram to Killarney and stopped at the Globe Hotel. It is one of the most picturesque old hotels, looking like an old English home, with garden, entering through a massive gateway, the grounds surrounded by a high stone, moss- grown wall. The hotel is right in the town, and the town is far more picturesque than Cork, though nothing like so large. I will describe the town, with its alleys of stone (white- washed, straw-roofed) cottages or cabins, and its funny little stores when I see you.
Tuseday most of us took the great trip to Killarney Lake, the Gap of Dunloe. We left the hotel in jaunting cars to the mountain pass about seven miles. These ponies, or small horses, were awaiting us at Kate Kearney's cottage (the Col- leen who was famed for her beauty in song and poems) where we had a drink of goat's milk and potheen (mountain whiskey). Then we mounted our horses and rode six Irish miles — an Irish mile, according to our guide, is "a mile and a bit, and each bit is nearly a mile." If that isn't a real Irish answer! — and Oh, such a ride! The most glorious ride — mountains on either side covered with green moss, ferns and heather — rivers, bridges, farms and the lake in the Gap be- low us. And Oh, the most beautiful day! The sky above perfect, and just cool enough — in fact, the weather per- fect. Everything was of interest, and I had such a communi- cative guide. On this side was purple mountain (and it was well named for its coloring; on that, Bull Mountain, for it was so bold; then Echo Lake, a man stopping the tourists to blow his bugle for us to hear the wonderful echo beyond. A few steps further a cannon was shot off for its echo (all expecting a tip); then Serpents Lake, where St. Patrick buried the last snake and promised to let it out the day after tomorrow, and tomorrow never comes. The Wishing Bridge that St. Patrick blessed, the cottage he stayed in his last three nights. Colleen Bawn's cottage, the first schoolhouse where English was taught in Killarney.
All this was just on the way through the most beautiful scenery. Then we came to the banks of the first lake, where two boatmen met us and we had our cushions on the grass just like a picnic. Then we got in our boat with four oars- men and were rowed fourteen miles. First the Upper Lake to where the waters meet at Wier Bridge, and as they have had such dry weather the water was too shallow to allow us to take the cascade, so we got out and through the most wonderfully beautiful woods on through the other side of the rocks and bridge, and there took the boat again. ,
Then the second lake, passing Collen Bawn Rock, where she really lost her life, and many other little islands, the lakes all surrounded by these beautiful mountains. Then we passed through to the Lower Lakes, larger than the rest and very rough that day. We landed at Ross Castle, an old ruin once owned and lived in by the chief of old Ireland under the king who lived in Blarney Castle "where we kissed the Blarney Stone." There we were met by our jarveys with our jaunting cars and returned to the hotel about six p. m., having left at ten a. m. I never remember a more beautiful day of pleasure as far as sight-seeing goes. And the beauty of it is is that it all still holds its old look, all so quiet and peaceful without a sign of the new world marring the pic- ture. A motor boat has never been allowed on the lakes. We came out here Wednesday. Sid found it too far from Killarney proper to run in and out for our locations, so here we are installed in a really and truly country house, by courtesy called a hotel, but in truth an old-fashioned house, and an Irish one at that. We are the only ones here, and have taken full possession, and what we haven't to make us comfortable the boys are making. We have moved and fixed differently every bit of furniture in the rooms for our own needs and satisfaction, so we are very comfortable and al- ready have the room and home also filled with flowers, which grow ever> -where. I do wish you could see the other part of our hotel as it is — in fact, the old part — right across the road, where the family lives; and the living room and saloon combined. I wish I could draw a picture of it. A long, low stone, whitewashed and strawroofed cabin or cottage in the center, a dicided door, stone paved floor, big open fireplace, peat burning, iron kettles hanging on the crane, cooking the dinner or boiling water, the Irish terrier Barney in the cor- ner of fireplace, a big bench side of wall, hams and bacon
hanging overhead and the bar on the side, the daugl
acting as barmaids. In the evenings the lads and la
come in to dance, and Mi-- I I Q ullivan, thi
daughter, play-, the accordion for them t<. danc< Mmd you,
the room is a -mall one, and when tin- squai
we all hug the wall.
It was very cold last night, and we had our peal I . old fireplace in our own little parlor with it- cracked leg pi and Jack (lark played his violin and we all sang until bed- time. We scarcely need a lamp or candle- 1.. go to bed with, and, will you believe me, it 1- daylight until 9:30 p. m The sun shines on a clear day until after 8 p. m., and daylight before 3 a. m. It is more like Sweden, tiny -ay. You see, we are so far north. The boys have worked like since we have been here. In fact we all have. Putting up costumes, getting things in order. The stage in the field was built this morning. The boys are now building an outside bathroom. We are certainly making the In-h open their eyes. We have done in two days what they would have taken months to do. We haven't started to take picture- yet. Am glad we are out in the country for its quietude and beauty.
Miss Mapes was specially engaged by the Kalem Company for certain important roles in their coming Irish produc- tions. She is a young lady of exceptional ability, and i- destined to play a leading part in motion picture production-.
PALACE THEATER, CHARLEROI. PA. Taken by its own light.
32
THE MOVING PICTURE WORLD
m
Music for the Picture
By CLARENCE E. SINN
"Ohio" says: "I am drummer in a picture show here. Have been devoting my attention largely to sound effects. In fact, I was engaged for that kind of work principally. The public seems to like it; the manager of the house wants it and be- lieves it helps his business. I try to use common sense in my 'work, but I doubt if all the critics do the same. I read an article in the M. P. World a short time ago, wherein some- body said, 'If it is to be silent drama, for heavens' sake let it be silent (referring to the accompanying noises of music and sound effects).' Now, it has been tried a number of tfimes to give pictures without these accompanying noises and apparently without much success. I agree with the critic in finding fault with those who have only cheap 'toys' in their outfits, and who introduce imitations in absurd places. Why should a 'dog-bark' be given simply because a dog appears in the picture? I heard a drummer some time ago use the liorse-hoof effect for a horse crossing a stream and climbing up a soft, sandy bank. Such things are ridiculous. There is no use in telling the perpetrators of such rot to use judg- ment, for they have none. But that does not signify that all drummers are half-witted, nor do I believe that it calls for the elimination of sound effects altogether. The greater part of the public seem to like the pictures better when prop- erly 'worked up,' and as they are the people who pay the bills their opinions must carry more weight than that of a person whose sole idea for improving the 'noises' is to cut them out."
Mr. Hall, you've evidently started something. May the seed fall in fertile places.
From Iowa: "Someone waote you regarding photo-plays 'so carelessly thrown together as to make a musical setting very difficult, if not impossible.' I have found the same diffi- culty, though I suspect the fault is principally mine in most cases. I often find a really good picture whose scenes alter- nate so rapidly as to make it almost impossible to play more than a few bars of music to each one — not enough at any time to develop any recognizable descriptive music. I am often at a loss to know just what is the correct thing to do at such times."
When the scenes alternate so rapidly as to make it impos- sible to develop any recognizable descriptive music, about the next best thing to do is to play to the most prominent scenes — or rather, to select the dominant theme and fit your music to that. If this is not practical, play something neutral in character, but be careful that it does not conflict strongly with any of the scenes. Selig's "The Mission Worker" is a good picture, which might come under this heading. The scenes alternate between Chinese scenes, a sick-room, and a parlor — many of them rather short. It opens in a mission school. A mission hymn would be proper for this, in my opinion, even though the class is composed of Chinese. It is the spirit of the scene you want to catch. You can find room for plenty of "chink" music later on if you wish to play it. The sick room scenes, of course, call for a plaintive when- ever long enough to "develop." I heard one pianist play "chink" plaintives and nautrals for this picture, which was correct, but in some places she had to jump from one to the other so quickly we could hardly tell what she was trying to play. Another gave it up apparently and played waltzes straight through, which did not add anything to the picture. So far as I was concerned it detracted. Another played a little intermezzo (Bratton's "In a Lotus Field") which seemed to answer the purpose very well and saved much worry. It was neither Chinese music nor pathetic, nor yet was it particularly adapted to the general run of drawing- room scenes, but it did not really conflict with any of these, and under the circumstances I thought it was a very good way out of the difficulty. Of course, the longer scenes were properly accompanied.
I visited Sitner's Theater in this city a few evenings since, and wish to compliment the pianist on his rendition of the Great Northern release, "The Ghost of the Vaults." The picture is of the "court dress" variety (knee-breeches, pow- dered wigs, etc.), and this precludes music of modern kind or suggestion. The opening is neutral, though rather dignified, and the music introducing the picture was in keeping. First, about sixteen measures from the "Pilgrim's Chorus" (Than-
hauser), modulating as the scene partook of a sentimental character to "Song of the Evening Star" (same opera). This ran through the scenes. The garden scene with the lovers' tryst was introduced by a valse brilliante with much scale work (one of Chopin's if I am not mistaken). When the villain appears in the background the music was subdued, first by dropping the right hand and continuing the waltz mezzo forte an octave lower, then changing gradually to a heavy semi-mysterious till finish. The business with the rope ladder and the capture of the lover were described in the ordinary way with sentimental and agitato music. The dun- geon scene had just enough of the prison scene from "II Trovatore" to suggest its nature. The scene in the vault with the sepulchers was accompanied almost in toto by Beetho- ven's Funeral March ("On the Death of a Hero") and this was handled beautifully. First it was given as a funeral march fitting the ghostly character of the scene; then a mysterious character was given to the number, running through the sleep-walking scene and changing at the last to a decided agitato effect (this last occurring principally in the second strain ofthe march— the three sharps strain). The finish of this scene was a melodramatic "hurry." The manner of adapting the funeral march to several different phases of dramatic situation exemplifies what I have often contended, viz: that the manner in which your music is played is quite as important as the kind of music you play.
A ^suggestion for music to Vitagrap's "Tested by the Flag." — i. Soft waltz at opening, till change of scene; 2, "Mister Volunteer," (softly) till ball room scene; 3, waltz (when scene changes continue waltz softly all through next scene; 4, Trumpet calls and drums (or short march) till change; 5. heavy noisy Hurry all through battle; 6, "In an earth cell," semi-mysterious or agitato till change; 7, waltz or sentimental; 8, same as No. 6 till fighting; 9, Hurry for bat- tle; 10, (parlor scene) waltz or sentimental; 11, military march (two scenes); 12 (same as 10), when Tow seizes Jack change to 13, short Hurry till Jack goesmp stage. Then, 14, ||Mr. Volunteer" softly till finish (or any neutral music. Can "play to the flag" is desired. It is optional).
John F. Meth, tlie popular manager of the Grand Theater, of Springfield, 111., has resigned his position with the Kunz Bros. Amusement Co. and will in the future manage one of O. T. Crc-<wford's chain of theaters in St. Louis, Mo.
Following the policy of the other Licensed manufacturers of increasing their weekly number of releases, the Lubin Company will, beginning July 1st, augment their output from two to three reels weekly. Their release days will be Mon- day, Thursday and Saturday.
FLICKERS.
The best part of the show is often on the outside.
* * *
Better an old picture that is good than a new one that U bad.
* * *
Icemen make good picture managers because they art prepared for a frost.
* * *
The summer trolley car is not the only place to find th« end seat hog.
* * *
Good music will help a bad picture and bad music will spoil a good one.
* * •
When some young men spend a nickel they want tk« whole world to know it.
* * *
Picture shows have nothing to do with Christian Science, but some of them get the absent treatment.
* * *
An audience is quick to see the hand of the amateur, la managers as well as actors.
THE MOVING PICTURE WORLD
33
Projection Department
Edited by F. H. RICHARDSON
IE
:
A Word With Our Readers. With this issue the Moving Picture World enters its ninth volume, larger and better than ever. A word to the department readers may, perhaps, not be out of order at this time. The Trouble Department first saw the light of day under the title "Operator's Column." It occupied a scant column and a quarter of space. Such, however, was the need for such a work that it rapidly grew in size until for the past few months there usually has not been sufficient space available to include all matter sent in. That the department has done much to raise the standard of projection is generally conceded. That it has opened up an invaluable medium for exchange of ideas between opera- tors and managers situated hundreds and even thousands of miles apart, is indisputable. To those who have staunchly stood by the editor, believing steadfastly in his honesty of purpose, he returns heartfelt thanks. And now, gentlemen and brothers,- let us all pull together for a better department and for better projection for the future.
F. H. RICHARDSON.
• Questions on Last Week's Lesson.
1. What do you understand by "Refraction of Light"?
2. What is the angle of incidence?
3. What is the angle of refraction?
4. When is the angle of incidence greater than the angle of refraction?
5. When is the angle of refraction greater than the angle of incidence?
6. What is the "Index of Refraction," and how is it found?
7. Explain why a ray of light is refracted in passing from one medium to another.
8. Explain why we do not see heavenly bodies, except those directly overhead, in their true position.
9. Explain why those planets nearest horizon are further away from their apparent position than those nearer over- hear.
LIGHT LESSONS (Continued). One point it is well to have knowledge of is the fact that, under certain conditions, a perfectly transparent medium becomes also a perfect reflector. That is to say, it reflects all the light, allowing none to pass through. This occurs when what is known as the critical angle has been passed.
FIG. 26.
In Fig. 26 we see an illustration of the critical angle, which is defined as follows: If a ray is traversing any me- dium in such direction that the emergent ray just grazes the surface of the medium, the angle it makes with the normal is called the critical angle. In Fig. 26 we see a medium of glass A B, a normal C D, a ray E F, and the point of emer- gence G. It will be observed that, after refraction, the ray G F barely clears the surface of the glass. Now if ray E G came from H. the emergent ray would have passed the criti- cal angle and the whole ray would be reflected back into the medium at G I. Nothing further need be said on this point, I think, since the proposition appears plain and the rule always holds good.
And now let me go back, for a moment, to reflection and set forth a point which was overlooked; a point of much importance to the operator, by the way. When a ray passes from one medium to another, as from air to glass, at an angle, the whole ray does not enter the second medium.
In Fig. 27 ray A B passes from air to glass X X at B. Presumably the whole ray will be refracted to D. This, however, is not the fact, since a portion will be reflected as ray B C. This, also, always holds good, the amount of light reflected being dependent upon (a) the angle in inci-
dence and (b) character of surface and medium. The greater the angle at which the light strikes the surface of the second medium the larger proportion of light lost by reflection. This matter should be studied carefully by the operator since it applies particularly to the arc ana con- densers.
FIG. 2-].
Going back, for a moment, to the critical angle, it brings us to an understanding of the fact that to the fish, or any creature under water, the field of vision into air is restrictea to a cone, the width, or diameter of which is dependent on distance from the surface. Beyond this cone the fish sees, not objects in the air, but objects in the water; they being reflected back from the under surface of the water.
I only touch briefly on these things, expecting the student to study them over and grasp the main idea from what is said, reasoning out details for himself, it being understood that these lessons are not intended as a complete course in light, but, as I have said, merely complete enough to allow of a comprehensive knowledge of its general action.
The critical angle has been made use of in experimental projection, but so far has not proven of practical value. It has possibilities, however, through the use of crown glass prisms. The critical angle of crown glass is 41° 45'. If a 45° crown glass prism be placed with one of its flat faces squarely facing the light, the long side at 450 thereto, the light rays will pass into it and be totally reflected through the other flat side. By "flat faces" I mean the two sides at right angles to each other.
And now we will proceed to consider a matter of more intimate interest to the operator, viz.: lenses.
This is a subject of exceeding difficulty and. while I can- not hope that my work will be either complete or perfect, I trust we shall at the least learn something of real value.
In the first place let us briefly consider the manufacture of lenses, so far as knowledge is obtainable. Many there are who believe there is enormous profit in the making and selling of high class lenses and that there is no commensu- rate gain through their use. This latter possibly holds good to a considerable extent in projection, the very high grade article showing a greater degree of efficiency in photography, m which work minute exactness is imperative, if credible work is expected. Lenses must necessarily possess certain properties, viz.: refractive power, dispersive power in relation to colors, stability under excessive heat in projection work, clear, brilliant color and lack of physical defects. The first two are absolute properties necessary to results. The third is of much importance, particularly in condenser lenses, and the last two effect results very greatly.
Refractive power varies widely in different lenses. It is varied not only by the shape of the lens, but by its material constituents. Phosphorus, lead and nickel, as well as other metals, are used in the manufacture of glass and enter into its construction. The optical qualities of the glass will de- pend considerably upon the proportions of the various ma- terials used in its manufacture. The measure of its power to bend a light ray is called its refractive index. What we call white light is really composed of all the colors ofthe spectrum and each color has a different wave length. These rays of different wave length refract differently and it is therefore impossible to focus light to a point with an ordi- nary plain lens, since some rays will be focused at a point further from the lens than will others. The amount of dif- ference is called the "dispersion" of that particular lens or glass The dispersive power is the power of the lens to divide a ray of white light into its primary colors and this varies according to the composition of the glass Lenses may have the same refractive power (index of refraction). but entirely different power of dispersion. Violet is refracted
34
THE MOVING PICTURE WORLD
most of all. yellow i- medium and red is refracted the least by any given medium. You will note that with some con- densers there is a very heavy ring of violet, fringed with red- ish color, at the spot at all times, while with others, when the light is rightly adjusted, it i- very slight. Lenses which give the heavy color ring are poor article-.. Underhand, however, that this color ring may he greatly augmented by improper adjustment of the light.
\\ hile the use of glass dates far hack into the past, it is only within the past century that it has been used to any extent for light transmission. The first glass used was all .some form of what is known as crown glass, but later a glass with greater refractive power, called flint glass, was introduced, it being used to correct color dispersion, when used in connection with crown glass. To-day practically all projection lenses are a combination of crown and flint glass. It will be well, at this point, to illustrate the method of using the two glasses for refractive purposes. In Fig. 28, if A and 1! be two lenses exactly alike in size and shape, having pre- cisely the same curvature, be made of the same glass they would bring parallel rays to a focus at the same distance from their surface. If, however, one be made of glass hav- ing a high refractive power (a very dense glass) and one be made of glass with less power of refraction (less dense glass), the rays would be focused at different distances as shown.
FIG. 28. This fact is utilized in the following manner in the con- struction of projection lenses:
3
FIG. 29. In Fig. 29 we see A B, two lenses, A having a very high refractive power (index) of, say 2, ground to a negative focus of three inches. B is a postive lens made of the same glass of the same focus, viz.: three inches. If these two lenses be placed in contact, as at C, the outer surface will be flat and rays X X X X will pass straight through as shown. Now if we take two lenses ground precisely the same as A and B, but A made of a glass having a refractive index of 1.5, its focus will then be 6 inches. The positive factor we ■will retain as in the previous example, however, viz.: with a three-inch focus. Now, if the two be placed together as at D, we shall find the sides parallel as before, but we shall discover that rays X X are converged and focused at E, and that the combination of a negative 6-inch and a positive 3-inch 'gives a positive lens of 6-inch focus. Also the use of glasses of different refractive power is necessary to over- come chromatic abberation and other faults present in the single, plain lens. These matters will be treated later. (Continued next week.)
A Bundle of Questions. — North Carolina (name of town suppressed) writes: "I have been operating in a non-license State and desire to go to a license State where I can get better wages. I have no knowledge of unions or license. Will you please answer the following: (1) Should I join a union, will I be able to go to another licensed State with- out joining the union there? For instance, if I join the Pennsylvania union, can I operate in any licensed State, such as New York, Illinois, etc.? (2) What will be the fee for joining and how much per month, if anything, after-
wards? I understand one pays so much on joining, that being for one year. (3) What are the wages of operators in Chicago and St. Louis? 14) What States are licensed and what ones non-licensed? If St. Louis is licensed, I suppose the license and the union are the same thing. (5) I would like instruction as to what kind of examination I will have to pass. (6) Will it be required that I know names of ma- chine parts; know anything about wires outside the oper- ating room; understand rheostats, economizers, etc.; other things like repairing, wiring, etc.? (7) Is it allowable to use a cord in the operating room to operate switches controlling house lights, same being overhead, out of the way?"
Well. North Carolina, you certainly are not overly well posted a- to licenses and union-. A union is an organiza- tion of men in the form of a sort of lodge, the purpose be- ing to secure better wages, better, conditions of labor and improve things all around. It has absolutely nothing what- ever to do with the matter of licensing of operators. Usually operators' unions examine candidates for membership as to their knowledge of operating. This is to protect the union from offering its benefits and protection to incompetent men. Most certainly you would have to know all the things you have named in order to pass an examination, either for membership in a union, or for license. To secure a license you will have to convince the examining board, or examin- ing official, that you have at least a fair, working knowledge of electricity, as well as of projection machines and operating room practice. Initiation fees vary with different unions, ranging from $2 to $25, or even more. Monthly dues of from 35 cents to $1 are exacted thereafter. The license is procured from city officials, or, in some States, from State officials. City license is good only in that city. State license, where obtainable, is good only in that State. License fees vary from nothing at all to $10 per year. A New- York City license is not of any value outside New York City. A Massachusetts license is only good in that State, etc. With the union it is different. Having joined, for instance, the New York City union, you can transfer to any I. A. T. S. E. operators' union in the country practically without cost. I trust I have made things clear to you. All operating room w^ires should be enclosed in metal conduits.
Geneva Trouble. — Racine, Wis., writes: "Am running a 1909 model Motiograph and have trouble as follows: Once every month I clean out the intermittent oil casing, washing it and the parts with gasoline. Before replacing same I cover star with vaseline and add a little light oil. Towards the end of the month the oil casing seems to leak, as the bottom of the machine becomes covered with oil. This is very annoying. Another trouble is: when I put fresh vase- line in the oil-casing the parts seem to catch, or bind, every so often, for the first few days. Does fresh vaseline always act thus or do you think there is something wrong with the framing device? Can you tell me how many amperes I get on each of the four contacts of a "Lemon" arc regulator, made by the Vindex Company? I have no volt, 60 cycle current. Plate is marked '50 amperes,' which I supposed to be the maximum capacity. However, my 60 ampere fuses melt when I run on the fourth point. All connections are tight, so that fuse melting is not caused by loose joints.''
As to the oil leakage, you are not definite enough. If you mean the outside of the bottom, or mechanism base, gets oily, it would indicate excessive lubrication, but, most likely, oily, it would indicate excessive lubrication, but not unneces- sary leakage from intermittent oil casing. If you mean bot- tom of chamber within frame gets oily, you can get rid of that byr removing front plate, cutting blotting paper to fit bottom of chamber, and putting it in. It will absorb all oil until full, when it may be easily and quickly renewed. If you have been running the machine since 1909. with the same intermittent, star shaft, etc., it would not be at all surpris- ing if the casing did leak. Machine parts, no matter how well cared for, won't last forever, you know. Next time you have casing open, examine and see if star and cam shafts are tight in their bushings. If the oil leaks out it most prob- ably is by reason of worn star or cam shafts, or bushings. I would recommend that you try engine valve oil in casing, instead of vaseline. As to the "catch": you say it occurs every so often. Exactly how often does it occur to each turn of the crank? No. fresh vaseline ought not to act that way. Please be more definite in describing the "catch." Re- member I am a long way off and can only form an opinion by what you tell me. It is necessary, therefore, if I am to aid you, to be very careful and complete in your descrip- tion. I am not acquainted with the arc regulator you name — never saw one. Possibly you are using it on higher volt- age than it is designed for. Plainly contact 4 gives you more than 60 amperes. Well, if it works O. K. on contact 3. keep it there. Get your light company to measure the amperage on each contact.
THE MOVING PICTURE WORLD
35
Editor Corrected.— Mr. H. P. Walls, Corning, Oil., write: "Handbook received and must say was agreeably surprised at its completeness. It is worth twice its cost, and then some. Noticed your reply to Oklahoma in last week's issue. pages 1374-5. i" which you suggest he build a temporary rheostat. You mentioned No. 8 galvanized wire — about 50 feet. Well, as 1 wanted to have an extra rheostat in case of accident, I had my electric light man bring me- his am- meter. At present I am running 60 amperes, so thoughl I would be perfectly safe in following your suggestion to Oklahoma. Well, I got 60 feet of Nio. 8 and wound it on a lathe, built a temporary frame, connected up and cut in and — the ammeter registered i-'o until the fuses went, which was real soon. After cutting in 200 feet of No. 8 wire I am pulling 63 amperes. ] believe No. 12 would be about the proper size, but cannot procure that size here. Made a rheostat out of No. 14, but was afraid it would burn out, so did not use it.''
Well, Neighbor W'alls, I'll have to confess my sins, I think. Long ago I made such temporary resistance when on the road. I had forgotten the size wire used, or how much of it. I made a guess, and, it seems, a bad one. How- ever, there was no earthly danger to anything but a fuse, so I trust I may be forgiven this time. Try out that No. 14 rheostat. You cannot injure it since you can switch off the current as soon as it begins to get too hot. Try it out and report, please. I think you will find the No. 14 wire too small for your amperage. In other words, when you get the sixty amperes, the wires will be considerably more than red hot. I hope Oklahoma isn't on his way to New York with a tommyhawk, intent on summary vengeance on the editor.
Photos Promised. — North Tonawanda, N. Y., writes: "I will surely send photo of machine equipped with the shutter in question. I have no camera and the photographer wants five dollars for taking a picture. Besides, the head is my own and is now packed up. I will surely send a photo within a few weeks, however."
All right, Tonawanda, we will await the picture with in- terest.
Machine Adjustment. — Chicago, 111., writes: "Will you kindly explain just how to adjust the Powers Six geneva to take up lost motion in intermittent sprocket? Also, how may one tell when the sprocket and flywheel shafts are in line with each other? Things are about as usual here in Chicago, except that the strong-arm element has been elim- inated from the union. In the reorganization the former business agent had the nerve to apply for membership. It is needless to say that he was turned down cold. The re- organized union is being conducted along common sense business lines, and the day of the strong-arm, bull-dozer is past."
We are indeed glad to hear this kind of report from Chi- cago. We most sincerely wish the Chicago men every suc- cess. There is no reason why the organization should not become a powerful factor for good. Remember, gentlemen and brothers, that to reap the highest reward of success, justice and common sense must rule your actions. There was a time, long, Jong years ago, when strong-arm methods were, in many cases, absolutely necessary. That way is no more. A union is a business organization, pure and simple. It should be conducted with the one purpose in view of bet- tering the conditions of its members in every possible way. This, however, may best be done by proceeding along busi- ness lines, just as does any other business organization. The idea of certain of the ex-leaders of the old Chicago union, was to argue by "knockin' 'is d — d block off." That was the only kind of argument a certain few of them knew. That is the last, the very, very last argument resorted to by modern leaders of labor. Even the strike is now recognized generally as the very last resort, after all other methods of obtaining honorable settlement have been tried and have failed. W'hen the writer first became a member of the great army of organized labor, in 1883, committees were seldom sent to the bosses and the "Walking Delegate," as the busi- ness agent was then called, was regarded by employers as the very last word in bad things. He was the social leper. He was ridiculed and abused by the press wihtout excep- tion. He was the butt for every "humorist" and the car- toonist, then just in embryo, reveled in caricature of the universally detested walking delegate. In those days we struck and argued afterwards. To-day we have learned better methods. We argue first. Wre exhaust every re- source of diplomacy and then, everything else having failed, we strike, absolutely as a very last resort. Men of the type you mention have not kept up with the procession. They might have succeeded back in 1883. To-day they are fail- ures. And now, Chicago, forgive me this dissertation on
labor matters. I just "felt like it " Sui to the ( hi.
brothers, ami now to your question- h, th< in (edge nearest the sprocket) of the left han haft
bushing ot the Powers Six, you will ,, three
small holes, I,, the end of the right hand bushing jrou will find a screwdriver slot Loosen the two setscrews which clamp the bushings and insert a small pun tenpenny wire nail, with pointed end hied oil. is ,
and by raising the same you will turn the bushing hii h 1- slightly eccentric, ami tighten the geneva the cam,
thus eliminating lost motion in intermittent sprocket. In ing this you should turn the machine at tin time
(without film in), tightening the geneva against the cam. by raising on the nail, or punch, until you can feel the machine begin to bind slightly. Slack off a little then, stop ehme, tighten the set-screw which holds bushing, and try machine. If it binds, or there is excessive muse, slack off on the bushing a trifle more. If the bushing turns very hard in its mount you may start it by gently tapping on a' small punch held against the edge of the hole, from underm the machine. The right hand bushing should also be turned about the same amount, in the same direction, as the left one. You may tell when the two shafts are parallel by using a calliper on either side of the intermittent sprocket, both shafts are the same diameter throughout their length
A Live Wire. — Rarely, though sometimes, a newcomer in the amusement world will make old-timers sit up, take no- tice and also, to some extent a rear seat. Such one, it seems, is our friend Frank G. Cook, who three months ago knew nothing at all about the show business, but to-day has what is, in some ways, the best appointed airdome in all New York City. Mr. Cook planned and built the airdome him- self. It is situated at 109th Street and Manhattan Avenue. The ground lies several feet above the street, sloping gently back, thus forming a natural ampitheater. Mr. Cook has uniformed attendants, illuminated program announcer, a large clock over the entrance, in plain sight of the audience, and the projection is excellent.
We present a picture of the front. Mr. Cook is what is commonly termed a "live wire" and we wish him all possible success.
Larger Carbons. — New Orleans. La., writes: "Do you think there would be any advantage gained through use of larger carbons than five-eights. I would try the matter out, but have been unable to get cored carbons larger than five- eights in this city."
Up to fifty amperes D C or sixty amperes A C there is nothing to be gained by using carbons more than y& inch in diameter. In fact, there is disadvantage. For amperage heavier than that named I would recommend the larger carbons.
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THE MOVING PICTURE WORLD
Commutators Sparking. — Des Moines, Iowa, asks: "What is tlie cause of fans sparking, and what is the remedy?"
Presumably, Des Moines, you mean sparking at the brushes. [f the sparking is not bad, carefully, and very lightly, sandpaper the commutator, while the fan is running, with No. oo sandpaper, afterward using a very little of some good commutator compound. Rub a little of the compound on coarse canvas and hold it to the commutator. Don't use much of it, however. If there appears to be a ring, or rings of fire clear around the commutator, take a fan down and carefully, with oo sandpaper, polish the commutator by ruV- bing endwise of the bars. The ring of fire is usually caused by a particle of copper pulled over the insulation from one commutator bar to the next. It should be removed immedi- ately.
Cooling the Theater With Ice. — Inquiries have been re- ceived concerning the cooling of theaters with ice. I have heard of many houses claiming to do this, also have seen many houses with placards on the front announcing that "This house cooled with ice." Inquiry invariably failed to disclose the actual congealed moisture. Personally the writer has doubted the feasibility of blowing air over ice to cool a theater. It seems as though ice would melt with ex- treme rapidity; hence the cost be prohibitive.
If any of our correspondents or readers are actually cool- ing their house with ice I would indeed be glad if they would describe, in detail, the process, giving size of house, length of time one hundred pounds of ice lasts and cost per hour. Also set forth approximate lowering of temperature as com- pared with ordinary fan cooling. This information will be of distinct value to many managers and, if it exists in fact, its contribution to the department will be appreciated.
Kinemacolor, Chicago, 111., writes: "We are expecting to see Kinemacolor before long. Can you not furnish some data as to how it is handled? What difference is there in running it from ordinary black and white? How is it threaded? In fact, I would greatly appreciate all the point- ers you can give me on the subject."
You have asked a pretty large question, Chicago, though my own knowledge is not as complete as it might be. Now that the machine is perfected I can give advice with much more freedom than I could have done some two months ago. In justice to the Kinemacolor Company I will say that all objections have been entirely removed, and that several American makes of projecting machines have been adapted to the projection of Kinemacolor. The process has been im- proved to such an extent that scenes of all kinds are now photographed in Kinemacolor with unvarying accuracy. Many of the films are too surpassingly beautiful to be de- scribed in words. So much for Kinemacolor itself.
As to the operating, Kinemacolor looks to the casual ob- server just like any other film. There is a distinct differ- ence, however, since the film must be run at just double the speed of the ordinary stock, the pictures being in pairs. Normal speed of the black and white film is about 60 turns of the crank per minute (16 pictures per second). There- fore, it follows that Kinemacolor crank speed is approxi- mately 120. turns per minute — 32 pictures per second. This necessitates great care on the part of the operator, partic- ularly that everything connected with the projector and film be in prfect or nearly as possible perfect condition, also that the machine be carefully and frequently lubricated. Just remember that the Geneva movement is acting approxi- mately 32 times per second, or nearly two thousand times per minute. A good speed for a small circular saw, and you will see the absolute necessity for careful intelligent care and thorough lubrication, with GOOD oil. Don't try any cheap oil on a projector working at Kinemacolor speed. The very best you can get is none too good. Engine valve oil for the gears and the heavy lubricating oil of high grade for the Geneva and bearings is what I would recommend.
Should the film tear, and it become necessary to remove some of it, you must remember that the pictures come in pairs. It takes two pictures to complete one exposure. The pictures are technically known as the reds and greens. On the perforations of each alternate picture you will see a green mark. The pictures opposite the mark are the greens. These pictures must be in front of the aperture when the green light is on and the others when the red light shows. In patching, it is absolutely necessary to see that a red is joined to a green.
Should the green marks be rubbed off an old film, proceed as follows: Usually some object will show darker in the red picture than in the green and vice versa. Observe this carefully, and join a picture in which the object looks dark, to one in which it looks lighter, and you ought to be correct. Make your patches very carefully, remembering the heavy strain patches will be put to at such high speed. Not only
scrape the emulsion off the stub ends, but also carefully scrape the back of the other end to remove all oil and roughen the celluloid so that the cement will take good hold. A good workman will do this in making patches in ordinary film, but it is absolutely necessary in Kinemacolor.
Threading is simple, once understood, but it must be done right. You will find the title to only appear on alternate pic- tures. The title printing corresponds to the green pictures of the film. Thread in the usual way, leaving a tolerably long, but not too long, upper loop. Thread the title printing in exact frame over the aperture, and your red and green pic- tures will come right. This is of the utmost importance, since the green picture, as has been said, must be showing when the green light is on, and the red when the red light is on. The other way will spoil the whole color effect. If, in patch- ing, you get two reds or two greens joined together, your color effect will be totally ruined after that point is reached in projecting the film. You will be compellel to shut down and frame the film up or down one picture. I lay stress upon these things because they are of paramount importance. In what I say, I am not dealing with the regular Kinemacolor machine, but I am dealing more particularly with my experi- ence with the Powers machine. The regular Kinemacolor projector, while more costly, certainly is a model of modern mechanism, and contrary to the general belief throws black and white pictures perfectly. One thing the operator must do is to look his Kinemacolor films over very, very carefully, and be sure that they are in the best possible condition. Unless he does so he will court trouble and in all probability get it. Another thing, Kinemacolor to show well requires very strong even light. Only the red and green rays are used. This has the effect of weakening the illumination, ne- cessitating heavier amperage. Just how much current re- quired will depend on (a) size of picture and (b) the kind of curtain used. There is no difficulty in getting a good ef- fect with the largest Kinemacolor picture, on a white screen, if a mirror screen or metallic surface curtain is used, I will not stand sponsor for the result. Mind, I do not say that good results may not be obtained from both, but at this time of writing, they are in the experimental stage, and I do not care to be quoted on them for the present. It will probably require 80 amperes D. C. to do it. However, using y% and f% carbons, the larger above, of course, with a good screen. 45 amperes will be ample. Remember, that at the present time, I am guessing this to some extent, but I do not think that I am far from the truth. The machine must be run by a motor for Kinemacolor. The motor must have regulation enough to cut its speed H and more, if it is to run ordinary film. The only thing necessary to change from Kinemacolor to ordi- nary black and white projection is the removal of the color screen, the reduction of speed, and probably cutting down the amperage. To remove the color screen, loosen the screw in its hub which holds same to spindle, and slip it off. Rheo- stats, or whatever form of current control is used, must be arranged to instantly change from amperage necessary for ordinary projection to that demanded for color work. As to the theory of Kinemacolor, it is essential that the operator understand it, nor can he do so without understanding what happens when the negative film itself is made. In principle, Kinemacolor depends for its effect on the blending of colors through the persistency of vision and the absolute regularity of the register. If you flash the fire shield up and instantly down while the picture is stationary, when the green screen is before the condenser, you will find that the picture is all green. When the red is on, it is all red. The blending of these two colors, as the pictures are exposed at great speed, produces the reds and greens and the various other shades and colors. The remarkable thing about Kinemacolor, if carefully run, seems to be the discovery of not only all the colors, tints and hues of Nature, but it seems to be the Chris- topher Columbus of black and white. No such blacks and whites are seen anywhere outside of the Kinemacolor pic- tures. There being two negatives practically, a right and left hand negative, an absolute stereoscopic effect is produced. In getting the colors of Kinemacolor, Mr. Urban seems to have stumbled on two other striking photographic phenom- ena. The philosophy of all this I have not had time to study out. but there it is before your eyes on the screen.
Caution. — There always ought to be an extra color screen kept on hand in case a hole should be broken in either screen. Also some extra gelatine for the screen must be kept in the operating room. The color screen is nothing but a revolving wheel carrying two sections of colored gelatine. It must be set just as is the front shutter, frame agreed picture over the aperture; turn the machine by its fly wheel until the inter- mittent sprocket just barely begins to move. Hold fly wheel stationary, having previously loosened the two set screws holding the outer hib to the inner. Revolve the screen caps in the direction it normally runs until the green screen has
THE MOVING PICTURE WORLD
37
just covered the aperture. That should be right. As to the regular shutter in front of the lens, it is set in the usual way. I may at some future time go more deeply into the matter of Kinemacolor operators, but I believe what I nave said will suffice for the present.
In a conversation with Mr. J. J. Murdock, of the Kinema- color Company, he informs me that he is having a series of articles prepared on Kinemacolor and its operations. These can probably be had of the Kinemacolor Company.
San Francisco Union Blowout. — Brother W. H. Osterfeldt, vice-president Moving Picture and Projecting Machine Op- erators Union No. 162, I. A. T. S. E., San Francisco, writes: Our organization has just celebrated its seventh anniversary. The occasion was marked by a banquet at the Toke Point Grill, Friday evening, June 23, and the event is recorded as one of the most enjoyable yet experienced in the history of the organization.
Besides a number of prominent invited guests, 100 mem- bers were present. P. H. McCarthy, mayor of San Francisco, wan an honored guest, as were also Frank C. McDonald, civil service commissioner of San Francisco, B. B. Rosenthal, vice-president of the San Francisco Labor Council. W. H. Urmy, Edward Vyagner, Ben Williams, Roy Stephens, Leon Bories, manager of the 'Frisco branch of the General Film Co., Ralph Johnson, general manager of the Turner and Dannken Film Co., and Earl Miles, of the Independent Film and Distributing Co.
The White Rats furnished several vaudeville acts for the occasion, booked by Miss Ella o. Weston, that were much enjoyed, and short speeches were made by the mayor and others. On one of the tables was placed a picture machine in use twelve or more years ago, to remind those present of the great strides made in the art of projection.
The menu follows:
THE MENU.
Miles Bros. Independent Blue Point Cocktail, First Fun
Edison Celery Lubin Olives
Melies Consomme en Tasse
Vitagraph Rolls
I. A. T. S. E., No. 162, Roast Young Chicken, Union Dressing
Turners Green Peas a la Dahnken
Kalem Potatoes Scheened
Urban English Pudding, Alternating Currant Sauce
Gaumont Gream Cheese Toasted Benz Crackers
Pathe Coffee En Demi Tasse
Selig Assorted Fruit
Assorted Nuts Served by Green Operators
Biograph Liqueurs Direct Current
Essanay 220-Volt Cigars.
Cigarettes 50 Amps.
The fact that the Mayor of San Francisco, as well as other public officials of high rank, attended and participated in the banquet speaks volumes for the standing of Local Union No. 162. By the way, what was the voltage of those cigarettes?
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Letters from an Old Exhibitor to a New Film Maker.
My dear
First Installment.
Saratoga Spi
THE YANKEE OUTING CLUB.
Qualifications for Membership: must be a good sport; must
be a good actor, and be able to riecite the Declaration
of Independence from memory.
I suppose you are too busy, declinini the Belasco act, to read the letters of an id] self, who in such a quiet charming place as this has taken off tlieharness and is gathering new strength For the battle in the fall. People here are far more interested in the brand of their mineral water than the make of their favorite films. Every morning after I have taken my sparkling libations
right from the spring 1 take a walk out to \\ llawn Park
and sitting there in an old neglected little summer house, I hold communion with myself and in this crystal cleat of air and light believe me I can see a little into the future and the mistakes of the past look to me so large and plain that they seem to be at the other end of a micros.
You know one does get acquainted with the dear, dear public as the years roll by and I tell you this talk about the public knowing what they want is the veriest "rot." The public, let me tell you, must be educated. I don't mean to say that the moving picture is to be their post-graduate course, it is that for a good many to a plumb certainty. I mean they must be lifted out of their own ignorance and folly in regard to what is good for them and what without knowing it they really like best. Look at any audience in the land just a minute or two before the curtain goes up, it is like the earth according to the good book in the be- ginning ''void and formless." Unconciously they leave it all to you and me and we can mould them if we' know how. The idea of public sentiment or public opinion being born like the goddess in the fable, jumping ready-made out of the head of Jupiter is plain nonsense. Drop a cork on the water and watch it float. Now one current takes it up and now another, presently a touch of the wind drives it into an eddy, here it stops altogether only to be seized at the next moment and borne on with the speed of a belated chauffeur.
There's your image of the public.
The engineer conquers the vagaries of the water by the science of hydraulics and you and I have to conquer by studying the nobler science of man and his mind and heart. The more you learn of that the better and the more popular will be your films. Believe me that wind and water, though to the unthinking they seem so unstable and changeable, are in every single movement obedient to unchangeable laws.
Having made this much clear by way of introduction, we can start on a little tour of observation. The dear public will always follow you. if you can make it understand. Therein lies the difficulty and therein lies your test. You must then get tham to listen to you and, most important of all, give you their confidence. Convince them of your honesty. Show that you are willing to give a hundred cents for the dollar. Mere words will accomplish nothing. Advertising will help only when every word in your "ad" will stand the acid-test. There is no better publicity weapon than advertising in the hands of a truth-teller, but the liar advertises nothing suc- cessfully except his own capacity as a liar of class. Now right here, old man, let me whisper something to you about your style of advertising. Don't advertise like the patent medicine man. By the way, do you know the sale of the patent medicines has fallen off horribly, just because the public knows more than it did twenty or thirty years ago and got tired of lurid advertising and bogus medicines? Take a warning. Do not, if you please, tell us poor exhib- itors that your last release is the best the world has ever seen and that the exhibitor that does not get it must needs die of starvation. Avoid the superlative. Don't say that your particular films are the only ones the public will care to see. You are worse than wasting your advertising space. If you have something good, or if you honestly believe you have and you know you have worked like a Trojan and you and your people's heart has been in the work tell about it in a plain, direct, honest way. Don't think because the other fellow "hollers" louder, he will be believed sooner. Have a little patience — nothinsr worth while in this world can be got without it — and soon the exhibitor will know that your words, though not flamboyant and in short syllables, are to be relied on. The current will thereupon set in your direction as sure as the sun rises in the east.
I think this is enough for one day. The crowd is going down to dinner, I want to be sure of my table, even if the black servitor gets a dollar a meal for keeping my cool cor- ner safe against all intruders. I will pick up the threads again, when the spirit moves me. O. E.
38
THE MOVING PICTURE WORLD
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Comments on the Films
"Russian Gypsy" (Pathe). — This film is colored and effec- tively brings out the gypsy love of bright tints. It tells a tragic story of a Russian peasant who fell in love with a beautiful gypsy girl. She is false to him, and a few months after he marries her he kills her, with a gypsy man. The arrangement of the scenes suggests an opera. The acting is very good.
"The Water Beetle and Its Young" (Pathe). — These nature study pictures of the Pathe Company are very valuable. This film pictures the habits of a very fierce water bug and shows it and also its young in fierce life-and-death struggles with their prey. It is very instructive.
"The New Editor" (Selig). — Here is a good newspaper story, telling how a young man becomes first assistant editor, then editor, of the Mayville "Clarion." It gives a good ex- position of the way some political deals are managed, the illustration of a fight for municipal ownership of waterworks by the women of the town and the difficulties which beset the owner of the paper when he refused to print suffiragette items because the political boss told him not to do it. When the editor is last seen he is rapidly climbing a telegraph pole to escape the fury of the women. The hero is made editor by the new owner, who is the leader of the suffragette move- ment. There is plenty of life in this, and even though the incidents are not entirely probable, they make the best sort of comedy. The mechanical work is well done. The editor is well played by Otis B. Thayer, and the new editor is William Duncan. President Perkins, of the Water Company, is True Boardman, while Mrs. Bussy, the suffragette, is Kaythryn Bond. The daughter is interpreted by Gertrude Bondhill.
"The Passing of Dapple Fawn" (Pathe). — Here is a story with one death in a fight, two suicides, a girl sold to a trapper whom she didn't love. The girl's father, an Indian chief, re- fuses to permit her to marry Big Bear, her lover, but sells her to a trapper, who takes her away. The Indian lover follows and in the running fight, which, by the way, is spec- tacular, the Indian is killed. In despair because she must spend her life with this man the girl throws herself over a cliff into the river. Haunted by a vision of her face the trapper soon follows