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JANUARY 1925
Pictures an d Pichuretyver
abesret N
Invading the realms of London's night life with a movie camera.
H
avc you ever wondered, as you sat in the kinema and watched the Cabaret on the screen, just how much like the real thing these representations were? If so, you will soon have the opportunity of comparing the genuine article with the film producer's idea.
Harry B. Parkinson, who you will remember only a short time ago captured " Wonderful London " in his film camera, has secured a series of twelve films showing the honest-togcodness London night life.
For six months he has been working whilst the rest of the world has been asleep. In the wee small hours of the morning he has visited the haunts of the gay in order to show exactly what Cabaret and Night Club life are like.
" I 'his means that for the small cost of an ordinary "tip up" the kinemagoer will be able to visit the exclusive Cabarets, and Night Clubs, the cost of an evening's entertainment at which frequently runs into tens pounds or more per head.
Here on the screen will be seen the most famous Cabaret stars in the world, the most beautiful girls in two Continents, the most " outre " of stage dresses, and the most original of entertainments, besides the most wonderful modern dancing.
As no Cabaret or Night Club boasts of lights sufficiently powerful to allow of filming, Parkinson had to take his own light. A huge lorry with a portable generator was prepared, and care
fully hidden outside the building where the film was to be made.
Then huge arcs and searchlights, as used in the Studios, were set up in the dance and supper rooms. These also had to be carefully disguised and hidden in order that the guests and performers might not be conscious of the fact that they were being filmed. Many
people commented on the wonderful lighting but few suspected the real reason for it.
The cameraman and his machine were usually secreted behind banks of ferns and flowers, and for the two hours when the fun was at its height he clung desperately to his camera.
Frequently he was in such a cramped position on being released, that his legs had to be massaged before he could walk. Harry Parkinson usually appeared as one of the guests, and by cleverly worked out signals, indicated to the electricians working the lights, and the cameraman, just what he wanted.
and Terry Kendal ("Midnight Follies ") at the Metropole.
It is estimated that had Harry Parkinson been able to engage all the artistes who appear in the series of twelve Pioneer films, their salaries list would have run into thousands.
Four of the " Frivolities Princes.
at the New
:".*-'
Right : " Hootin' de Hoot " ("Piccadilly Revels ") at the Piccadillv Hotel.