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THE CAPSTONE
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By that time, he hoped to have ^50,000 in cold cash with which he could start a law business and start it right — no clerkship or minor partnership.
The newspapers were moralizing on “the film craze” and hinting at its impermanence. Sam Katz more than half agreed with them. He felt utter contempt for the trash he was feeding to his public; and certain film producers whom he had met showed minds and imaginations so limited as to intensify his skepticism. He was simply working a little bonanza while the boom lasted. He entered Northwestern, devoting his days to improving and cultivating his mind and his nights to planning and devising for the Baliban and Katz theatres.
Then in the summer of 1912 a states’ rights buyer offered them that epoch-making film Queen Elizabeth. Baliban and Katz had it projected; and Katz came away in a blaze of illumination. Here was a four-reel film, superbly photographed by an artist with the camera, acted by the greatest figure on the modern stage. Someone “was putting brains onto the film.” He had been thinking of exhibition on the old terms — as something akin to saloon keeping and in his special case a fortunate avenue to a respectable career. For the first time, he entertained the idea that there was a stable future in this business. Behind Queen Elizabeth came The Prisoner of Zenda and Mary Pickford’s early productions in the long film. These banished all doubtv The thin vein was opening toward a mother-lode.