The Film Index (Jul-Dec 1910)

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THE FILM INDEX 3l-i IE jgdf CHICAGO LETTER 5rf By James S McQuad 3E 3E EJE I WAS favored with a long and interesting conversation the other day by Mr. B. Nichols of London, England, who spent a few days here last week on business. Mr. Nichols is the agent for the products of a number of licensed American manufacturers, his territory embracing Europe, Australasia, Africa, Asia and South America. He makes headquarters in London and he has branch offices in all the European capitals. Mr. Nichols' visit to Chicago was made chiefly for the purpose of consulting with Mr. Wm. N. Selig, whose product is handled by him in all the countries mentioned. As Mr. Nichols is traveling most of the time, in Europe especially, and always in the interests of the motion picture industry, it is only natural to expect that a man of his keen observation and thorough knowledge of the business would possess a store of valuable information. And this opinion was delightfully confirmed. What impressed me particularly during the conversation was the enthusiastic and confident manner in which Mr. Nichols v.iewed the drawing power of the motion picture. And he was specially strong in advocating the exhibition of pictures by themselves, without the use of illustrated song, or high class singing numbers, or vaudeville. A grand piano and an organ, with first class players of these instruments, are the only requisites necessary, Mr. Nichols thinks for a theatre seating 500 to 700 people; but he is emphatic in declaring that every picture should have its appropriate music played while the film is being run. For larger theatres Mr. Nichols favors a well selected orchestra of seven or more pieces; but pictures must form the main feature and not be subordinated either to instrumental or vocal music. In connection with appropriate music being selected for each picture. Mr. Nichols showed me a film calendar gotten out by his London firm, showing the releases for November, 1910. The title of the film appears with the trade mark of the maker and the release date, all in the same line. Then underneath the title is given the name of the musical selection to be plays while the film is run off. For example; "Dora Thorne," a Selig film, is given the music "Rose Leaves" (entr'acte). "If I Had the World to Give You" and dramatic music. The film calendar is gotten out just as early as possible each month r.nd is mailed to exhibitors so that they can secure the music from the publishers, or music stores, in time, care being taken to select such music as can be readily purchased from publishers or dealers. Mr. Nichols states that these approved musical selections are made by an expert who is engaged specially for the purpose. The expert sees the film subject run off and immediately fixes in his mind the appropriate music. From the London office these film calendars are mailed to exhibitors in all parts of Great Britain and Ireland. Similar calendars are issued in all the European capitals. This assuredly shows praiseworthy and encouraging progress and should be imitated in this country. The music sheets, I forgot to state, cost the exhibitors sixpence each, about 12 cents. The London picture theatres have all been specially built for pictures and the shabby, small theatre has disappeared. Picture theatres in that city at present cost all the way from $20,000 to $75,000, and companies and capitalists are investing largely in such structures. One of these larger theatres, mentioned by Mr. Nichols, pays as high as 5 per cent, per month, or 60 per cent, per year on the capital invested; so that in less than two years the house will have paid for itself. Where can our American capitalists de better than by investing in high-class picture theatres? Mr. Nichols made one remark that sunk deep in my mind. It was this: "The moving picture theatre can better afford to pay high lease rent than any other business." Of course he meant a high-class modern house with a seating capacity of 1,000 or over. London has proved this; for fine picture theatres can be found on such public thoroughfares as Oxford and Regent streets. And the admission prices are sixpence and a shilling — 12 cents and 24 cents. The interiors of these modern London picture theatres are models of art and comfort. No expense has been spared to please the eye and to administer to the pleasure of patrons. Refinement and luxury are apparent on every hand and cheap effects are wholly lacking. In keeping with the surroundings, ladies and men — many of them — can be seen in immaculate evening dress. This suffices to show that a picture theatre of the right type will attract the most cultured patronage, and even the vulgarly inclined are forced to a higher ethical plane by such surroundings. Moving pictures are slowly but surely coming into their own. Germany is about one year and a half behind England in the picture business; that is, in the type of theatres, quality of the shows and in the class of the audiences. But progress is being made, so Mr. Nichols informs me. In Italy, the State and municipalities are establishing a strict censorship of film, and the vicious type of film subjects is being gradually forced from the market. Fine picture theatres are to be found in St. Petersburgh and Moscow; but Russia, as yet, is in a very backward state. In Holland, Belgium, Denmark and' the Scandinavian peninsula, pictures are popular and are steadily growing in favor. France does not do herself credit by her picture theatre system; but the near future promises better things. The product of the American licensed manufacturers is in high demand in Great Britain and Ireland and on the Continent. Australia and Africa, too, hold it in high esteem. Mr. Nichols told me an amusing story about the fate of the Imp film in the United Kingdom. Prior to the arrival of the first releases Laemmle painted things, in the most lurid red by advance advertising. Exhibitors judged that "the greatest ever" was about to be sprung on them, and orders poured in to renting establishments for the first Imp releases, at a lively and unprecedented rate. The bubble burst on the showing of the first prints, and every exhibitor, who had swallowed the Laemmle advertisements and his booming of the great Miss Lawrence, wired to the renters the two words, "Never again." Critical opinion in "the tight little isle" was stronger tnan the Laemmle advertising and Imp film has become a memory there. Mr. Nichols left for Philadelphia on Monday, Nov. 21, where he will call on Mr. Lubin, and thence will proceed to New York, en route for London. Chicago Schools Will Show Pictures. The Chicago Board of Education has decided to open eight school "centers" in about a fortnight, the final details being arranged by the members Tuesday, Nov. 22. These "centers" which will be open three nights a week will exhibit the best class of moving pictures, according to the statement of John D. Shoop, assistant superintendent of schools. Large phonographs will also be installed and patriotic songs and other music will be rendered. There will also be gymnasium and singing classes, illustrated lectures, debates and lyceum programs. The nickel theatres will feel the effects of the new departure in a sense; but as the "centers" are open at nights and for only three at that, it is not expected that any appreciable loss of patronage will be experienced. The "Policy" That Waned. One has to smile at the attempt of the editor of the "Moving Picture World," in the issue of Nov. 2 6, to explain the "apparently contradictory opinions" of that publication about a certain picture, the said "apparently contradictory opinions" having been paralleled by me in my letter in The Film Index of Nov. 19. Intelligent readers know the difference between "apparently contradictory" and "contradictory," and the quoted paragraphs speak for themselves. I thank the editor of the "Moving Picture World" for reminding me that "to speak the truth without fear or favor" was one of the planks of the original policy of that paper. How has that pledge been fulfilled in my own case? Writing about my humble self the editor states: "He has to do what he is told; write what he is told; think what he is told, all of which explains his remarks in the issue of his house organ for November 19," every statement of which is a falsehood, and the willful product of an envenomed mind. Get back on your fence, Mr. Editor, or you will lose that accustomed crease in the seat of your nether garment. I forgive you for the lapse from your boasted "policy," because nobody who knows me will believe you. But I can scarcely forgive you for belittling a noble stanza by associating it with the spirit of your article. It is so touching to dabble in the verse of the famous author of "Gulistan," after one has attempted to cut a neighbor's throat! The Saxe Enterprises. It gave me considerable pleasure to meet Thomas Saxe, of the Saxe Amusement Co., of Milwaukee, last week, as it is due to him and his efforts that the exhibition of motion pictures has become so important a factor in the entertainment of the residents of that city. Mr. Saxe now controls and manages six theatres in Milwaukee. Five of these — the Princess, Modjeska, Globe, Orpheum and Theatorium — use pictures only. The Crystal offers vaudeville and pictures. The Theatorium and Globe, with seating capacities of 27 0 and 500, respectively, charge 5 cents. The Orpheum, Princess and Modjeska, seating 450, 700 and 800 people respectively, charge 10 cents. The three last named houses have each a four-piece orchestra and a large pipe organ, the latter costing $2,200. First runs are first exhibited in the Orpheum and Princess, down town houses, and are then used by the Modjeska and Globe, which are situated in the residence section. In these four houses strong singing numbers, consisting of character songs, with spot light, comedy duets, quartets, etc., are given. The Globe and Theatorium supplement the pictures by illustrated songs, the latter also being used at times in the other three houses. With the exceptions of the Modjeska and Globe, which are open evenings only, the picture houses run from 10 a. m. till 11 p. m. Mr. Saxe assured me that while pictures are being run, a newspaper can be read in any of his picture theatres, a feature that has contributed greatly to their popularity and success, as well as to the advancement of picture entertainment in other houses which have followed his example. He uses either mirror screens, or others coated with aluminum, and the most approved lighting system. Neatly uniformed girl ushers attend on patrons in the Saxe theatres. As is already well known, the interiors of the Princess and Modjeska are models of art and comfort. Mr. Saxe is a close student of the exhibition end of the picture business, and is always eager to adopt new methods or to improve old ones, whenever such changes promise to satisfy better the desires of his patrons. While the business on Saturdays and Sundays is usually of capacity volume, Mr. Saxe thinks that better results should be given on other days than at present. However, he is showing to good paying business and believes that the future has still better things in store for the up-to-date exhibitor. The General Film Company at 85 Dearborn street furnishes service to his circuit of houses. Chicago Film Brevities Mr. Schuyler Colfax, of the Eastman Co., Rochester, N. Y., was in the city for a few days last week, the guest of Wm. N. Selig. A novelty streamer, made of waterproof paper, in two colors, has been gotten out by the Selig Company for advance advertising of the "County Fair," to be released Dec. 15. One letter of the title appears on each successive sheet of the streamer, and the whole forms an attractive and neat advertisement. Mr. Nichols, European representative, was so pleased with these streamers that he ordered 1,000 of them for use abroad. R. W. Metcalf will open a new theatre, the name of which has not yet been decided upon, in Blandinsville, 111., in about 10 days. He arranged for service at the General Film Co.'s office, at 85 Dearborn street, and also purchased machine and supplies. F. L. Hough, Western demonstrator for the (Continued on Page 27.)