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iVletro's _L irst Violin
Maxwell Kar«:cr, a jjenial studio Nero, who would doubtless do some lively fiddlin^i it he were directint: the film hurninj^ o( Rome.
Maxwell Karpcr, director general of production for Metro pictures, used to be first violin in the orchestra at the Metropolitan Opera House. All that remains, however, of this stage in his career, is his long hair. He wears it that way still so as to look like a lion as well as >ound like one when he roars at directors. But between the period when Max fiddled and the period when he became boss of the Metro studios, there were several transitions, for he has been a man of many parts. Max Karger was born in Cincinnati about forty years ago. and took to the violin as most boys take to baseball and stealing watermelons. Just after he went into ong trousers he got a job with the Lillian Russell Opera Company, and toured with it for three years. He went to Chicago, landed a seat in Theodore Thomas' orchestra, and went on studying. Not)ody was giving Max a leg up. He had to work his own way. He won a diamond medal scholarship in the Chicago Musical College that enabled him to studv in I'aris under Joachim. Returning to America he captured the coveted position of first violin at the Metropolitan, and remained for six years. Suddenly he became disgusted with the violin, with opera, with the theatre, with New York, with everything he had been doing and everybody he had been meeting. It was one of those curious internal re\olutions that come occasionally to men and women of temperament and are so difficult for hard-headed business folk to understand. Then he did a curious thing.
He bought a ticket almost at random, for a city
in Ohio, landed there practically broke, and went to
work as floorwalker in a department store. It was
his transition from art to business, .\fter saving his
money and learning of business opportunities in
IF I were a business man, and had large interests calling for administration by a substantial and dependable executive, about the last person I would think of engaging would be a first violinist. This is one of the differences between me and R. A. Rowland, president of Metro. There are other differences. Among them is the fact that he is a business man and has large interests calling for administration by a substantial and dependable executive.
All that remains of KarJjcr • carrrr a* fir»t violin of thr Mrtropolilan Oprra Houar ■• hi* lonji hair. Ahovc, Metro's
directorjjrncral, on the ■ idelinea, kiJJinjt Alia, better known a* .Sazimova — all made up in her character for her Chinese film affair, " 1 he Red Lantern. "