Exhibitors Herald (Sep-Dec 1918)

EXHIBITORS HERALD AND MOTOGRAPHY Delay in Making Chaplin Films Is Explained by First National Principal Reason Declared to Be Comedian's Determination Not to Issue a Picture Until It Is Perfect The First National Exhibitors Circuit last week issued a statement which is designed to answer rumors and alleged authentic statements that dissention, dissatisfaction, politics and other difficulties are responsible for the infrequency of Chaplin comedies. The statement says the delays have been due to natural causes only and principally because of the comedian's pride of craft in refusing to issue a picture until it is as nearly perfect as he can make it. Other reasons ascribed are Chaplin's delay in getting into his new studio and the production of Liberty Loan subjects and propaganda features for the British and Canadian governments. Chaplin Explains Stand ''Each Chaplin comedy has to have in it the very best work of which I am capable," Chaplin is quoted as saying. "Comedy situations are much more difficult to work up than the dramatic scenes. There is no trick in grinding out scenes that might be called amusing, but to get real laughs and actual humor out of situations demands study, the utmost concentration and eternal experimenting. "No one knows better than I how simple it would be just to grind a camera crank and turn out footage which would constitute a film. The problem in producing successful pictures is no longer one of output made to meet a regular schedule. That system demands that quality be sacrificed to time and speed. The publication date must be met. Half the picture is finished. It is full of good material. It has taken time to produce. Now it must be hurried. The last half of the picture is jammed through hastily. The subject is issued on schedule. But is that system fair to the exhibitor? Does it benefit the producer or the star? Tells Wisdom of Policy "The public pays its money to be entertained. It demands, as a right, the utmost that the star, the cast, the director and the producer can give in ability, intelligence and entertainment value. When a production falls short of this standard, when it does not represent every ounce of energy and enthusiasm, of which those responsible for it are capable, then it becomes a burden to the exhibitor. His patrons are quick to recognize lack of value. They blame him directly, because it reflects both on his judgment and his sincerity. The star is the next to share the blame. Popularity decreases. And the exhibitor pays the penalty in loss of valuable patronage. He suffers the most. "I suppose I could take the first 'shots' of all my scenes and assemble them into pictures, saving time, money and effort. But theatre-goers would not see the best that I can do. There is hardly a scene made at the studio that is not rehearsed a dozen times. Very often the final re hearsal will develop a suggestion or an idea for a greatly superior situation and where only a smile would have resulted from the original action, we made a revision that is certain to bring a hearty laugh. Holds Principle Widespread "This constant effort to improve every bit of action, to be satisfied that it cannot be made stronger or funnier, is the supreme obligation of every star and producer. "I want to be absolutely content that Chaplin comedies contain the very best of my ability and I won't sanction their publication under any other condition. Then I know that the public is going to be entertained and satisfied, that the exhibitor will make money, and that I am not going to be accused of trading on a name to the loss of any theatre-owner who books my productions. "I would issue only one picture in a year if the others I attempted did not measure up to my own personal standard, but that one would have to be right, or it would be shelved. I would be better off with no pictures and the good will of the American public and exhibitors than I would with a score of subjects booking, with anv one of them meriting unfavorable criticism." First National Agrees "We believe," said one of the First National officials, "that Mr. Chaplin's determination to make quality the master principle in his producing is an epoch in the manufacturing branch of the business of an importance equal to some of the recent steps in the exhibiting and distributing departments of the industry. "He has kept his own counsel for months, rather than to commit himself to a statement of 'what was about to happen.' He preferred instead to put his conclusions into practice, leaving to self-styled wiseacres the apparently welcome task of assigning a score or more of erroneous reasons for the completion of only two comedies since he signed his contract with us. "Now he has proved, by nine months of activity, that he is really sincere, and that his decision is not a thing for the future, but that it is for the past as well as the present and future. "Entirely apart from our business relationship with Mr. Chaplin, every one of us feels that he is deserving of a genuine appreciation from the public, exhibitors and the industry generally for having the courage to make the quality of his productions first in importance, and quantity and income last, and for adhering strictly to that purpose in the face of every kind of conjecture and comment." I Men Stay Up All Night j To See "Over the Top" j In Ohio "Over the Top," Vita [ I graph's patriotic special, is holding | I the crowds until the cows come | 1 home— or lather until the cows are | I ready for their day's work. A letter received at the home | I office of the Vitagraph distributing f 1 organization last week told of an f I extraordinary record made by the | | picture at the Park Theatre of j I Millersburg. Two shows already had been | ! given one evening and there was | I still a crowd on the outside, com | I posed principally of farmers. The 1 1 farmers declared they didn't care § 1 when they got home, just so they | ! arrived in time to do the milking. | I so a third show was given, which | 1 did not end until five minutes to j = three. -i(iiiiiiiiMiiiiiiiiiiiiiitimiiiiiilMiiiiiiimiiiiiiiiiiimiiiiiiiiiuiilii"'i" iiiiiiiiimiiiniitiiiiiiMiiiiiiiiiiiiiiiilir Nu-Movie-Lite Company Denies Patent Charge Of Cleveland Concern The Nu-Movie-Lite Company of Peoria, 111., has filed an answer to the suit of the Argus Lamp and Appliance Company of Cleveland, which alleges infringement of the Argus patent, in the United States District Court of Illinois. "Together with the evidence we are withholding until the proper time, the answer will prove without a doubt," says M. M. Livingston, president of the Nu-Movie-Lite Company, "that the Cleveland concern has a patent which is invalid. "We deny absolutely that we have infringed or used in the make-up of our product one one-hundredth of an iota of some one else's idea." Tom Geraghty Back With Metro Tom J. Geraghty, author of many motion picture successes, has joined the scenario staff at Metro's west coast studios in Hollywood. Geraghty already has turned in his first complete manuscript, tentatively titled "Thirty Days," intended as a starring vehicle for May Allison. . . Geraghty, who embarked on a writing career as a New York reporter, gained his first experience in motion pictures at Metro's eastern studios in the metropolis, where he did publicity and subsequently wrote comedies for Mr. and Mrs. Sidney Drew in collaboration with Charley Fuhr. Holland Reaches France Change in Film Title The title of "Vendetta's Daughter," the Bluebird scheduled for Sept. 23. has been changed to "The Velvet Hand." Fritzi Brunette is the star of the film. 29 Sergt. Theodore F. Holland, formerly General Film manager at Indianapolis, now is hailing his friends from abroad with the American Expeditionary forces. Sales Manager W. F. Rodgers of General has received a card from him chronicling the safe arrival of the ship upon which he sailed. Sergt. Holland is with the headquarters detachment. 603rd Engineers.