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Vitagraph's memorable comedy stock company, at its best in 1913-14, included Hughey Mack, Lillian Walker, Albert Roccardi, Flora Finch, Etienne Girardot and Waliy Van.
jL esterdays of V itagraph
Intimate recollections of the memorable Brooklyn stock company which reared a host of stars — a great new chapter in the pioneer history of the movies.
By J. Stuart Blackton
/ J~'DITOR'S A'07"£;— Commodore Blackton, though still an ( f^ executive of the Vitagraph company, has been making entirely independent productions for so many months that he can look back in true perspective upon the historic organization of which he was inspirer and guiding spirit. In the time of which he writes Commodore Blackton was the foremost creator and exponent of intelligent stories and constantly improving screen-craft. He shares with the mighty David Wark the honor of first bringing intelligent people to the movie houses in large numbers. The X'itagraph theatre, perched on the very heart of Broadway, was the parent super-theatre of the films.
HERE are so many "yesterdays" in Vitagraph's history, as I look back upon those crowded and whirling years of mechanical, actorial and creative achievement, that I scarcely know where to begin this account. The pioneer days of the films occupied less than two presidential administrations as the calendar runs, \^^ yet has there ever been an art, or a science, X^ which went as far in half a century? not feel that it is yet time to write, or even begin, anyke a "histopv' of the picture business." Much as we
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have done, we shall do a great deal more. Though wc have gone far, we are still on the threshold of opportunity.
Yet, though our historical days are not truly upon us, we are in an hour when we can look back with some assurance, take stock of progress to date — and smile, maybe, at our first stumblings!
Biograph has been called "the cradle of the movies." If that is so, Vitagraph was certainly the movie nursery and kindergarten. Its list of debutantes and juveniles, its array of directors, writers and technical men are to-day — on the one hand, stars; on the other, leaders in film construction or creation. A few of Vitagraph's pioneers are dead, and perhaps an equal number have retired, but a much greater number are in this hour kings and queens of the great international art in which America leads the world.
In its first period, Vitagraph — whose property in Brooklyn now covers many acres, occupied by numerous costly studios, laboratories, offices and administration buildings — consisted of a suburban lot in the center of which was erected an open platform of boards.
When this was supplemented by the first studio, a two-stor>' concrete block building with a glass roof, we felt that we had