Motography (Apr-Dec 1911)

November, 1911. MOTOGRAPHY 235 Abuses of the One Price System By Thomas Clegg THE biggest commercial problem of the film maker is the almost universal price per foot for films of every class except those carrying heavy royalties — such as prize fights. No matter to what expense — steamship and railway charges, customs dues and porterage— the manufacturer has been put in the acquisition, or what difficulties and dangers were encountered by the operator, the renter pays no more for the subject than he does for a production which, by comparison of actual cost, is absurd. Exhibitors who cater to low-class audiences tell us, with more or less truth, that the cry of the people is for sensational, "slap-stick" drama or comedy; the more ridiculous, unreal and unlikely the subject, the better the patrons are pleased. To them — in bulk — the real, the actual, the sublime, or the majestic does not appeal with any degree of force. Sordid surroundings, dreary lives and stunted intellectual growth leave little for the imagination to feed upon, and the amusement provided for their delectation must of sad necessity be of an order or class to commend itself to their starved and immature understanding. The music hall manager in such neighborhoods is awake to this fact, and at reasonably small expense secures "talent" to satisfy the craving of his audiences for mirth-provoking and nerve-thrilling turns which would be hooted off the stage of a London West End hall. If he provided really high-class talent he would have to pay commensurately and, even then, his patrons would return with renewed zest to the style of entertainment to which they are accustomed. Simply, it would not pay him to provide a program of items which his audiences could not digest. The West End manager has a different class to deal with: intellectual, discriminating, refined, fastidious. For them he is strenuous in his search for novelty which appeals to the reason, which charms by its grace, which does not too patently edify, which presents wonders and marvels — human, animal and mechanical — amidst suitable environment, and comedy of a high order which causes a smile or a titter in expensive stalls that is of infinitely greater value to him than is the roar of laughter from the gallery at a coarse episode or a suggestive remark, should such be allowed. For this entertainment the management pays handsomely, enormously by comparison with the sums disbursed by his East End brother in the craft. With picture theaters the same principle ought to apply with even more direct force, but the price-per-foot supply kills speculation in productive subjects requiring extraordinary outlay on the part of the manufacturer ; and the writer's contention is that, while the present price is ample (alas!) for too many of the subjects foisted upon the public, the manager who is willing cheerfully to pay an enhanced price for the hire of films worth the money is left unsatisfied by the renter! Once let it be realized that the hard and fast, established price rule is broken, and the manufacturers will rise to the occasion. If the renter will pay for superior productions, the exhibitor will fall into line with a sliding scale of hiring charges, even as the West End manager pays for talent he would not get otherwise than by the payment of high salaries and fees. The present market is glutted with so-called comic films, but their nature and quality are such that the legend outside picture palaces which reads "program changed twice weekly" is not only necessary, but the call for its fulfilment is peremptory. Writing with the inside knowledge gained by one who has for some years been a member of what may be termed the committee of selection established by a worldrenowned manufacturer, judiciously to weigh, calculate and consider the suitableness, for audiences of every class and country, of the principal subjects of European and American manufacture, it is perhaps not unreasonable to hope that the opinions here expressed may carry weight. By-the-way, an American trade paper recently exploited this committee of selection idea as novel and original, whereas the custom has long been in vogue in England as above stated. Subjects of worth and merit, arranged with care, set with accurate knowledge and enacted by finished artists, would necessarily prove expensive as regards first cost, but length of run would more than compensate extraordinary outlay in acquisition by the renter and exhibitor. Just as a play which catches the public taste runs for countless nights, even so would such film subjects enjoy lengthy and constant patronage. An instance of this contention is furnished by the "Short-Sighted Cyclist," which was as hilariously received by an Alhambra audience on its withdrawal at the end of about twenty weeks' continuous nightly display, as it was on the day of its first public presentation. This film is still a favorite, after a life of over four years. There are various questions which are worth the serious consideration of manufacturers, renters, and exhibitors, and one of these emanates from the renter himself, from the purchasing representatives of foreign and Colonial theaters, and from the exhibitors of motion pictures to cultured audiences : "Do you know of any good comic subjects?" This cry, or question, is worth the consideration of the manufacturers. The productions wanted are not those of the slap-stick order, the wearying and wearisome chase, the practical joker with his idiotic rough-andtumble disregard of every artistic conventionality, the escapades, of a drunkard, or the frailties of infelicitous French couples. The public is weary of them, and the buyers and shippers are aware of the fact. A suggestion for a good, serviceable comic is as difficult of acquisition by the film producer as is the plot of a successful comedy "by an enterprising theatrical manager ; but if the renter, or exhibitor, or both, were willing to pay for film by merit, instead of by the foot length, the publisher could afford to commission competent men to enact and produce "comics" which would not be travesties of humor, but genuinely farcical. From the point of view of good subjects for motographic projection, it is perhaps unfortunate that a picture, once seen, can never be forgotten ; otherwise the resuscitation of some of the film publications of ten years ago would prove profitable. The art was then new, and the treatment was original; but progress has been too rapid, and the invention of plots too slightly remunerated, for an output of novel ideas to keep pace with the demand. Shortly, the aspect sought thus far to be presented,