Moving Picture World (Dec 1917)

1936 THE MOVING PICTURE WORLD December 29, 1917 the small town musician seldom if ever gets any credit for his (or her) good work, while the city musician receives a bit of printed applause occasionally. And this goes for the small town exhibitor, too. I am glad to take Mr. O'Neill's word for it that the young man deserves a boost, and will add that the manager also is to be included. He is evidently a showman who knows what he wants and gets it even though he has to import it. I'll bet a dollar the operator showed the picture the way it should be put on, too. Madge Kennedy THE CINEMA MUSIC COMPANY. I wish to acknowledge the receipt of violin parts of some moving picture music issued by the above named firm. Judging from the parts sent me I should say their music is attractive as well as useful. It is called "cinema incidental music," is printed on one side of separate sheets (loose leaf style), and the playing time of each is indicated at the top of the page. For example, No. 1 is a dramatic theme and is divided into five numbered sections; that is, each strain is numbered. At the top of the page is the announcement: From 1 to 2 40 seconds. " 2 to 3 19 " 3 to 4 40 " 4 to 5 42 Coda 30 " Total 4 minutes, 10 seconds. No. 2 (A Pathetic Andante) is divided into four numbered strains and the playing time is given as 3 min. 25 sec. The firm announces that three more numbers are now in press, viz : "Dramatic Recitative" By Sol. P. Levy "Dramatic Agitato" By Henry Hough "Heavy Mysterioso" By Sol. P. Levy I am requested to say that this music is not subject to any music tax. REMICK DROPS OUT. The following printed statement is being circulated among the members of the American Federation of Musicians: MUSICIANS TAKE NOTICE. November 27, 1917. The undersigned beg to announce that they have tendered their resignation to the American Society of Composers, Authors and Publishers, and that all our publications are free from tax wherever played. JEROME H. REMICK & CO. CAREY WILSON JOINS FIRST NATIONAL. Carey Wilson, one of the best-known figures in the New York film sales field, last week assumed the management of the First National Exchange, the New York distributing offices for the First National Exhibitors' Circuit. Mr. Wilson resigned from the Fox Film Corporation some two weeks Mr. Wilson's active film experience began as an exhibitor eight years ago, from which field he joined William Sherry when the latter opened the New York Exchange for releasing the first Famous Players film, "The Prisoner of Zenda." This association continued until three years ago, when he joined the Fox organization for the purpose of installing the contract system of bookings throughout the United States. In this task he acquired active experience in every exchange city of the country. Shortly after he opened the Canadian offices for Fox and left Canada on two days' notice to go to Australia and New Zealand. During 1916 Mr. Wilson covered over fifty thousand miles of territory, opening the Fox offices in Sydney, Melbourne and Adelaide (Australia) and Wellington, N. Z. It was at this time he renewed his acquantance with J. D. Williams, manager of the First National circuit. Returning to America, Mr. Wilson's first task was the metropolitan booking office for "The Honor System." Mr. Wilson's association with the First National Exchange is expressed in his own words as follows: "We have the one universal attraction in the industry, Chaplin, and lined up with him we have pictures such as 'Empty Pockets.' The men at the head of this organization are men with big ideas— and big plans for carrying out the ideas." Mr. Wilson is situated at the newly established First National Exchange, at 509 Fifth avenue, where has been prepared one of the finest and best equipped exchanges in the city. FEW actresses lay claim to the number and variety of talents that have been developed by Madge Kennedy, one of the ablest of American comediennes, who has but recently added to her list of accomplishments her appearance in Goldwyn Pictures. Miss Kennedy will always be remembered as the comedienne who made America laugh in a series of comedy successes. This was not because she lacked other talents, but because the others were subordinated to the one that made her famous. But first of all Miss Kennedy was and still is a painter of such ability that had she not taken up a career on the stage through chance she might have been widely known as an artist. Miss Kennedy also is a capable cartoonist. Her rare sense of humor has generated many comic creations, some of which have been published, and which have attracted the attention of noted comic artists. Only recently, while busy with her first screen Madge Kennedy. production, the little comedienne created a new idea in comics, which was praised by Harrison Fisher, who expressed the opinion that the new idea would meet with great success. Shortly before that Miss Kennedy painted a patriotic poster. Miss Kennedy's earliest ambition was to be a painter, and she still hopes to make a name for herself in that field. Leaving her home in California while she was yet a young girl, she went to New York, where she joined the Art Students' League. Her work attracted considerable attention, and she was making rapid progress when the turn of fate changed the course for her career. She had gone to a camp in Maine with other rart students, where there was also a group of actors. Some theatrical performances were given for the party's amusement. Miss Kennedy took part in some of them. Henry Woodruff applauded her one day, and she asked him for a chance. He gave it to her in "The Genius." The fortunes of the stage soon brought Miss Kennedy to Cleveland — out of work — where she joined the Colonial Stock Company. That was six years ago. Two years in the stock company prepared the comedienne for the opportunity she had waited for. She was offered a part in "Over Night," the first comedy in which she ever had an important role. From that time her success was assured. Her rise in the last four years is familiar to most theatergoers. It was accomplished with such successes as "Little Miss Brown," "Twin Beds," "Fair and Warmer." Now, in turning to the screen, she has been seen in another of Margaret Mayo's great stage successes, "Baby Mine," and in Edgar Selwyn's comedy-drama, "Nearly Married." AND THE GAME WENT RIGHT ON. In the making of the new William Fox photoplay, "The Kingdom of Love," one of the most important scenes is laid in a dance hall in the Klondike. Director Frank Lloyd thought he had put on the last touch of realism when he had a real bar and a real dancing floor and real card tables. But even then he was to be taught that these things sometimes can be made truer than they seem. It happened that on the corner of a stage was a group of men who often played cards together. "Those men over there are acting splendidly," said the director. "Let us get them in the picture." So the cameraman went over and took the men playing. "That is all," said the director when he had what he wanted. "I am through. You men can stop." "But the scene is not through," answered one of the men, without looking up. Then to the other players he said with a satisfied expression : "I'll play these."