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History
The present invasion of Hollywood by players ago, and the refusal of the fans to take to their Remembering this, the prediction is made that
than familiar favorites
By Elsi
Because their salary demands were enormous, producers argued that they must be good. It was the same line of reasoning that prompted them to crowd their sets to suffocation with priceless rugs and genuine antiques, and to contract for their stories at the rate of fifty cents per word.
Only the vital spark which has somehow persisted in spite of abuses, saved the movies from annihilation during this heroic art-grafting operation ; and now that talking pictures offer a new lease of life and the crippled industry is able to sit up and take a bit of nourishment, it looks as though producers are about to repeat the mistakes which branded silent films as economic and artistic failures.
The wholesale importation of voices, with nothing to back them up but a transient Broadway reputation, the reckless expenditure of vast sums on sound equipment, while the new medium is still in its experimental stage, suggest that the powers-thatbe of Hollywood have not learned their lesson.
Plioto copyrighted by Edwin F. Tovvnsend
Would the hampering restrictions of voicerecording mechanism have limited Geraldine Farrar's fiery portrayals?
PRESENT conditions in Hollywood bring to mind the panic that swept the film world slightly more than a decade ago when producers were vying for the services of such stage and opera stars as Elsie Ferguson, Sir Herbert Beerbohm-Tree, Geraldine Farrar, Billie Burke, Enrico Caruso, and Mary Garden.
Then, as now, established screen favorites shook in their shoes as the restless eyes of the moguls of moviedom turned to the footlights in search of big names, glamorous personalities and that professional dignity of which the infant industry seemed sorely in need.
The gesture was typically movie in its grandiloquence. It was at once a challenge to Old Mother Stage, who could not hope to compete with the lure of Hollywood gold, and a sumptuous bid for the serious attention of a class hitherto contemptuous of, or indifferent to, film entertainment — the highbrow element.
Playwrights, critics, eminent authors — of happy memory ! — and that section of the public which bowed down to their opinion, were drawn willy-nilly into the movement.
The movies were talking in terms of much hard cash, and the organized writing fraternity, of which there is no more cash-canny group in America, was impressed. The result of this recognition was the elevation of the humble motion-picture into the dizzy realm of art.
Art consciousness has always stood in the way of the natural and logical development of the screen. At least, it began to intrude at the period of which we speak, when the first stage luminaries were transported across the continent in private cars to mingle their costly effulgence with the Kleig rays.
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William Faversham's stay on the screen was short.
If Ethel Barrym o r e ' s throaty drawl could have been reproduced she might have rem a i n e d longer in pictures.
I J
Photo by Talbot Studio