Motography (Apr-Dec 1911)

April, 1911. MOTOGRAPHY 27 her grief is tremendous as she contemplates it. Nero learns of the miscarriage of his plan and hastens to Locusta. The sight of her grief gives Nero a new thrill and he leers upon it with unholy pleasure. Locusta catches the mockery in his glance, and Nero quickly quails before her outraged eyes. Without moving, she thrusts him out of the room with her glance of execration and despair. Recovering his bravado at the door Nero shrugs his shoulders jeeringly and departs, leaving Locusta to her grief. This final scene is one of the most impressive ever seen in pantomime. The acting is superb. If the producer had sought for months he would scarcely have found an actor more suitably endowed for the role of Nero. He has the thick neck, the heavy jaw, the sensual lips, the cruel eyes, and withal the regal carriage which one conceives to have been the characteristics of that immortal artist in crime and corruption. Locusta is equally good — dark and sinister, with the pride and dignity of an evil goddess. Both of these films are full length, hand-colored. "The Priestess of Carthage" will be released April 29, "In the Days of Nero" a week or so later. No exhibitor will make a mistake in showing these de luxe films to his patrons. Another Gaumont release of unusual merit, not as pretentious as the two already described, but still exceptional, is that of May 3. It is entitled "The Little King of Rome, or Napoleon and His Son" — an interesting study of the man of destiny as associated with his son in childhood. The part of the Emperor's child is played by the famous boy actor who has become so well known to the American public under the name of Jimmie. History tells us that the Eagle in spite of his strength and hardness as a commander and leader of men, was exceedingly fond of his son. This story places the youngster in a position of philanthropist. It opens in a drawing-room which Napoleon is using for his military headquarters and discovers to us the greatest military genius of all time romping with his heir, who at this time is about five years of age. The Countess de Courbille is announced. On being admitted to Napoleon's presence, she presents a petition framed for the pardon of her son, who is to die for taking part in a conspiracy. Her prayer is refused. Going out, she passes the little king playing with the grenadiers. Sinking on a seat, she bursts into tears, attracting the king. He inquires the reason, and goes to Napoleon and is rebuked. Grief-stricken, he is forgiven for his interference by Napoleon, who in turn ask forgiveness. The little king refuses unless the Emperor reads the letter brought by the Countess. He accepts the conditions, reads the letter, sends for the Countess, and writes out a pardon. It is a charming subject, affording scope for effective pantomime. The private life of a great man is ahvays interesting. It is pleasant to observe that great men love their children with an emotion no less simple and heartfelt than those of humbler station. Report on New York Picture Theaters By Raymond B. Fosdick Report of an investigation of tine motion pictures theaters of Greater New York, made at the request of Mayor William J. Gaynor. Mr. Fosdick is commissioner of accounts for New York City. MOVING picture shows are of comparatively recent origin. No laws or ordinances of any particular consequence, with the exception of section 484 of the Penal Code, applying to the admission of children under sixteen years of age unaccompanied by a guardian have been passed with special reference to the construction, conduct and operation of such places. In attempting to exercise some form of supervision and control over the rapidly increasing business, the officials of New York City have therefore been obliged, with the aid of the courts, to apply laws and ordinances which were enacted long before motion pictures came into existence. The result is that neither the picture proprietors nor the officials of the various departments that are called upon to, deal with the situation have any exact understanding of their rights, duties and obligations in the premises. In the absence of a definite law on the subject, not only are rules made arbitrarily to fit specific cases, but several of the city departments appear to have co-ordinate jurisdiction, with the inevitable result that when a particular duty devolves upon more than one department, there is little or no attempt to carry it out. That the situation may be fully understood, a de tailed explanation of the present methods of control is perhaps necessary. , Motion picture shows in New York City are required to operate under a license. Licenses are of two kinds. Where the entertainment consists of motion pictures coupled with vaudeville acts, a theater or concert license, issue_d by the Police Department, is required. (Section1472, 1473 of the City Charter.) For this license, which is revocable only by the Supreme Court, a fee of $500 per annum is charged. Where the entertainment consists of motion pictures, songs and recitations not rendered on the stage, a so-called common show license granted by the Mayor is necessary. (Section 307 of the Revised Ordinances.) For this license, which is revocable, for cause, at the discretion of the mayor, a charge of $25 per annum is made. It will be seen therefore that the kind of license granted is determined not by the capacity of the hall nor by any other factor except the character of the performance. A fully equipped theater could run moving pictures alone under a common show license. No less than seven departments of the city government are charged with duties respecting moving picture shows :