Variety (Dec 1926)

30-D VARIETY Wednesday, December 1, 1926 ZUKOR—AND PICTURES (Continued from pape 7) tlon at issue," we may drop a mil- lion dollars." "Well, then," observed the calm Zukor, "go ahead and do it—wo can sweat that out." The meeting was over. The motion picture industry, and through the film supply, the the- atres, too, were controlled in those days to a large degree by the Mo- tion Picture Patents Company, and its selling arm, the General Film Company. They licensed cameras, films, exchanges, projection ma- chines and theatres. No picture could he shown in the licensed the- atres unless the film itself were licensed. Because they wanted to spur the trust group of film makers into more worthy efforts, J. J. Kennedy and H. N. Marvin of the Patents company group overrode their asso- ciates and licensed "Queen Eliza- beth" and "The Prisoner of Zcnda," the first American-made production of the new Famous Players com- pany. Put alarm spread among the combines studios. One day Adolph Zukor went to the Tatent company offices to seek licenses anew and he sat for three hours warming a bench in the wait- ing room, and the while his wn th as well. Famous Players Idea At the other side of the door there was some discussion of the ©bseure little man waiting outside. "We have the 'know how'—why let him in?" they decided. This was most vexing to Zukor. and very fortunate for him indeed. It put his Famous Players idea out into the world for a career on its own merits, unhampered of the many erroneous traditions and prejudices of the existing film trade. And then new disaster abruptly appeared, a part of this same ss- <ju< nee of discouragements. The first effort of the new Famous Play- ers concern was the production of •'The Count of Monte Crlsto," with James O'Neill, lured from the stage by the wiles of Daniel Frohman. Hut before this picture could reach the market a three-reel version of the same story was released by the General Film Company, which forced the shelving of the Famous I'laycrs picture, tying up capital eotoly needed by the young company. "There's not enough talent in the motion picture world to make that many famous plays into pictures with that many famous players," Edwin S. Porter, the director gen- eral, exclaimed. It was admitted he Was right. A compromise had to be made. The new schedule planned threa tjpes of pictures: First, Class A. the Kimon pure "famous players in famous plays," to be some 15 in number; second, Class 13, another 15 with "famous picture players" in famous plays, and third, Class C, the remainder of the year's program to be filled with the output of what was to be called "Famous Players Stock Company. Now again the public was to as- aert itself as an unexpected force In the making of the films. While Class A offered such sterling stage stars as Mrs. Minnie Maddern Flake and .lames K. Hackett. Class P. had for it* first offering Mary Pickford. who had grown to motion picture fume with the trust's Btograph Company and with the independent **imp" concern. The public which patronized the new feature pictures Wanted Pickford, and Class B be- came Class A. shitting the Famous Play em policy by sheer force of the box office—the ono and only real Control of the art of the motion picture, the place where the people b;.'l.i|. Famous Players, eager at its growing opportunity, was hungry for talent. It was rumored that D. W. Griffith, was growing restless at Blograph, an<1 Adolph Zukor fright- ened his nssociatrs by making the famous director an offer of a salary of ? 50,000 a year. They suspected 55"!<"r was insane. When Griffith poi; ely declined the offer they were KiM-. thai he was stark mad. Years lai i- t ie mime Fatuous Players caa* Uully Contracted to pay the same D. V ttrlfllth ?10.O00 a week as an In- Cl< . t .11 Item of production activity. Famous Players was lonely in feature production, supporting the Dew policy and building an industry al«.n". There was a genuine sin- cerity In welcoming new efforts In the Held. The Lasky Venture N..t many months after the Fa- UPlif Players project got under way the Jeaaa ha sky Feature Play Com- na.-io of Lasky had come into prominence in the production of vaudeville acts and now it seemed possibly opportune to try this new and perhaps coming art of the fea- ture photoplay. With tho little Lasky company, with Cecil B. De- Mille as its director general, went west to produce "The Squaw Man" and selected a location among the orange groves near Los Angeles as a base of operations. "We have rented a barn in Holly- wood for $200 a week," was the first report that Jesse Lasky re- ceived in his New York office. It did not fill him with cheer. "The Squaw Man," after sundry adventures and misadventures, reached the market and a modest success. "Congratulations on The Squaw Man,'" Adolph Zukor telegraphed Jesse Lasky. across town. The head of Famous Players did not feel so lonely with another feature pro- ducer in the fight. A telephone acquaintance re- sulted, and an engagement to lunch the next day. There Adolph Zukor and Jesse Lasky shook hands for the first time.. The Lasky and Zukor products found naturally the same markets. Debarred from the existing chan- nels of film circulation they were sold to local independent theatres and exchangement, giving rise to the building of a new machinery of distribution. In the course of a few months more in 1914 tho leaders among these feature film buyers drew together in New York and eventually, after many negotiations, formed Paramount Pictures Cor- poration, which contracted for the film output of the Lasky Feature Play and Famous Players, along with some other lesser makers of feature films. Prosperous Times Business began to thrive. The feature picture was established. The coming of the World War after its first flash of depression left the motion picture to America to de- velop alone and poured prosperity and amusement buying power Into the wage-earning classes. Better theatres sprang up to serve the new picture public, beginning with the Strand in Broadway, New York, where presently the Rialto came to contest its supremacy and in turn the Rivoli, the Capitol, Warners, the Colony, and spreading all across the nation. In 1916, confronted with many common problems in production and in marketing relations with the Paramount, which stood between the producers and the theatres, Famous Players, tho Lasky Com- pany, the Bosworth concern and various minor subsidiaries, com- bined into the Famous Players- Lasky Corporation. Many differ- ences arose between the producing and distribution concerns, all of them relating to intensely technical conditions, and resulted eventually in a peace by assimilation. The Famous Players-Lasky Corporation, late in 1916, acquired the stock of Paramount and became Its own dis- tributor to the theatres. The in- vestment which had begun with that $18,000 purchase of "Queen Eliza- beth" now ran into many millions. Pickford at $3 Daily In 1909 when Mary Pickford went to work at Biograph under (Irlftlth she drew $3 a day. June 24, 1916, 10 years ago, she signed a contract with Famous Players giving her a guaranty of $1,040,000 for her serv- ices in the next two years and a large share in the profits of her productions. This entry of Famous Players- Lasky into the exhlhtion field in direct service to the public is the completion of an interesting cycle in the lifo of Adolph Zukor. He evolved into a producer by force of the public's demand for service and a hotter product. Another ex- pression of that same force im- pelled him to enter picture distri- bution, and now again in the last sector of the circle he is brought back to exhibition and the theatre again. While tho rise of Famous Players- Lasky is In so large a degree a personal success for its two out- standing personalities, Adolph Zukor and Jesse L. Lasky. produc- tion ehi- f, the development of an institution of such magnitude Is in- evitably accompanied by develop- ments in man power and Significant parallel careers. Conspicuous among the many who have risen to positions of impor- tance In the extensive Famous Ki. at, general manager, of the swift high tension corporation executive type, with a background of experi- ences as varied as mining engineer- ing and national merchandising in the drug trade. The Foreign Market And steadily the while, with these developments at home, with the coming of what passes for peace in Europe, the new world market for motion pictures has unfolded with a consequent enrichment of the screen along with its growth into a truly international art. Re- member that the feature picture and all of today's grandiose insti- tution of the screen grew up with Europe in a state of war. Not until now has the real world for the picture been revealed. In this large development Famous Players-Lasky, through its Foreign Department, headed by E. E. Shauer, an asso- ciate of Mr. Zukor'a since his earliest days, has carried a share of world responsibility in the ratio of its outstanding American impor- tance. Paramount, the trade-mark so familiar to Broadway and all the bright-lighted theatre streets of America, is as familiar a sight in all of the major capitals of the world: Paris, London. Copenhagen, Berlin, Buenos Aires, Barcelona, Sydney, Tokio, Manila and Shang- hai. The moon never sets on the Paramount sign. Now on Broadway at Times Square stands the new Paramount theatre, a towering glorification in American architecture of the Idea and Ideal of service germinated In that tiny Comedy Theatre of 20 years ago. From the little old nickelodeon has arisen the Para- mount theatre as a signal, a symbol and a beacon at "The Cross Roads of the World." FILM REVIEWS (Continued from page 12) west, north or south, and the laughs are going to stop any foreign crit- icism such as the "Big Parade" re- ceived. In other words It's a "bird" and that goes both ways. Fred. THE CANADIAN Famous Players-T.aaky -production star- ring Tom Melghan. Adapted from W. Somerset Maugham's play, "The Land of Promises." Directed by William Beaudine. At tho Paramount, New York, week Nov. 27. Running Ume, 78 mlns. Frank Taylor Tom Meighnn Nora..........................Mona Palmn E<1 Marsh Wyndham standing OertiS ■ Dale Fuller Pop Tyson Charles Winninger when Frank forces his way into her room, utter having slept in the combined dining room-parlor for weeks. That's the finish for Nora, only a spra'ned ankle keeping her from making the next train. Frank brings her back; he's a much sub- dued husband, takes to the barn for sleeping quarters and they begin to get along more amiably. Frank believes Nora wants to go back to her cultured England, and when he harvests intends to bank roll her return passage. Meanwhile, Nora's aunt dies and leaves her $2,500. That's tho sailing o. k. with Nora reluctantly leaving for home and country. Pop Tyson (Mr. Bd- dinger) has the situation purooso»- misses the train he's driving Nora to catch and the married couple are finally brought together, despite themselves, having been silently in love with each other anyway since the fourth reel, maybe the third. Miss Fuller's performance ia a capital effort. Perhaps the best of the cast. It's a forceful character as she plays It, and Beaudine has given her a few comedy chances, as well. Winnlnger is the laugh relief and fulfills that niche capably. Miss Palma. as Nora, plays her with re- serve, making a rather colorless girl win some sympathy. Melghan, of course, is the hardy son of toil, looks it and sends it from the screen to the audience. Beaudine has made a neat job of this stage adaption. It should prove a boon to the Melghan fans who have been waiting some time to see their star In a story that had some sense or merit to It. Bkig. Belle of Broadway Columbia Picture produced by Harry Oofcn. From the story by J. Grubb Alex- ander and Jean Peary, adapted by J. Grubb Alexander. Directed by Harry O. Hoyt. Featuring Betty Oompson and Herbert Kaw- Unson. At the Stanley. N. T., Nov. 24. one day. Punning time, 62 minutes. Mario Duval Petty Conipson Paul Merlin.... Herbert Rawilnson Mme. Adule .Bdith Yorke Count De Parma...,.*.. magnificent in the long shots, but the close-ups of his face are inter- Clever. Small cast celluloid of the Maug- ham play that rates above the other stories Tom Meighan has had handed him of late. It's a quiet bit of screen telling depending on the story, cast and direction to Bend it across. There are no battles, snow aval- anches, cyclones or Indian stuff. It's Just a study of the Canadian wheat fields with a farm hand finally win- ning the love of a cultured girl como over from the "old country." It's not timed when Canada was In its Infancy. Modern threshing machines are In action, etc. In fact, the picture was so timely it is un- derstood Meighan walked out on it to see the Dempsey-Tunncv scrap. According to this sidelight yarn, the star left the troupe flat in Calgary and hied himself to Philadelphia with the picture unfinished. This necessitated the company staying on "location" for another week or 10 days carefully shooting "stills" for reproduction sets in tho east, where tho film was finished. The switch Is not noticeable, although skylines seen through the windows of Mole ban's supposed Alberta cabin are obviously the result of a scene painters artistry. It might be said that the picture takes too long in unwinding Itself, especially In lieu of the limited ac- tion. There are places that could and will be cut as 78 minutes is a lot of time In the big program houses unless it all has some bear- ing on the matter. A little of "The Canadian's*' footage isn't entir.lv necessary, but at that there isn't much waste. Beaudine has extracted full worth from each player in his meagre cast, particularly Dale Fuller. Miss Ful- ler plays the extremely plain wifr of K<1 Marsh, an Englishman come to Canada to farm and refill his pockets. It Is his sister, Nora. Whom Frank finally takes to wife because she and Mrs. Marsh can't get along under the same roof. Tho electric condition between Gertie and Nora finally blisters the house when the two women have words before tho farm hands Gertie demands nn apology from her well- bred slstor-in-law. She g« ts It, and before the •'hands,** but Nora can't sfnnd tho gaff and throws 1m rself at Frank with tho proposition thm she'll be no more than houaek*ep< i for him. despite tho ring. Frank's cabin is Worse Hinii Iter brother's home, so Nora is botwaeih Unusually fair picture for the in dependent market. Good enough to stand alone in the daily change houses in these days of double fea- ture bill, and that Is saying a whole lot. Theme is one of the stage and rejuvenation, in itself interesting. In addition aro a couple of names for the smaller houses. Betty Comp son and Herbert Rawilnson. Here they are playing leads instead of be- ing supporting players, which ia a change of late for them. Story laid in Paris in 1896 where Madame Adelo makes her debut in "Du Barry." Married to a musician in the pit of tho theatre in which she is playing he departs for parts unknown, taking with him the boy born of their marriage. Story jumps to the present. Mme. Ad eh-, worn, aged and without funds, except enough to eke out a more or less precarious existence, visits the theatrical agents. Can't land a job. One tells her that if she could look as she did SO years ago he would put on a revival of "Lha Barry." On returning to her theatrical boarding house, a young girl study- ing dramatic art, in a moment of jest, dons the old actress' costume. The resemblance Is so marked the idea is born of substituting the young girl for the former star. It works out and the town is again crazy about tho ono whom they suppose to be Adele. Her old ad- mirers flock about her and one in particular tries to make the grade. He Insists that she come to his apartment for supper. When ahe does he unmasks the masquerade and then tries to compel the girl to accept his attentions. She is rescued at the last minute by a young ad- mirer whom she met before the masquerade was started. As good old coincidence is dragged In he proves to be tho son of the old star. Miss Oompson plays tho dual role. Edith Yorke is the former star, do- ing very well with it. Miss Comp- son should watch her step in profile shots. Rawilnson as the hero does well enough. Armand Kaliz, former musical comedy tenor, serves as the menace. Picture is well directed and some stock shots are cut into it with per- fect continuity. Fred. Wild Horse Stampede niuc Stress Western, reteaRcd by t T ni- versnl. Story by W. ('. Tuttl*. Direction of Al Roffell. Ktatrlng Jack H"xic. At Tivoli, New York, on^ «lay <Nov. 1M). Nothing sensational in this except tho tough, red-shlrted finale hoppers who clutter up ihe great wide-open spaces have seldom been known to have their eyebrows picked a la Broadway chorus girt. Cow-hands Wouldn't go In for these extrava- gances even if there were any beauty parlors on the Cross L ranch. A dog called "rank" rimy now walk around with his tail In tho air fur getting a Imnvy hum I t In out- scene where he plays, dead, TIm ii. when he figures the villains have forgotten him, warily opens one eye while remaining perfectly still, to slip off. ''Blink'' doesn't look so Jack Hoxie as Jack Parker suc- ceeds In corralling 1.000 wild horses within 10 days with the aid or hia horse, -Scout." With the money they represent he figures he "won't be 'shamed to arsk Jess Hayden to be mine." Hut Champion William A. Steele also wants little J e « 8 While Jack is busy corralling the ponies tho former makes love to the lass, much against the father** wishes. Enter the mysterious woman whom Jack allows to use his cabin. Follow complications, which end up in a horse stampede in which the bold, bad man is trampled to death The mysterious woman turns out to be a very close relative of Cham- pion; in fact, his wife. Picture moves along at a canter. Stampede camera shots are okay bnt produce nothing in the way of an innovation. y Prowlers of the Night Blue Btreak weatern released by Uni- versal. Story and dlrecUou by Ernut Laemmle. Starring Fred Homes. At the Stanley. New Yo rk, one day, Nov. M, Freddie Humes looks more like a cowboy than most of the perma- nent hair wave college kid speci- mens. Although he isn't great on the emotional stuff Humes acts nat- urally, smiles a shy, awkward little smile, and moves with diffidence in the presence of the one and only. More like a cowboy than a polished club man in a riding outfit. As Sheriff Norton, Fred is on the trail of a gang of bank robbers which ho finally locates. The girl, Barbara Kent, ia the daughter of the leader of the gang and is given a chance to waste a couple of hun- dred feet of perfectly good film by weeping copiously on Norton's shoulder for no apparent reason. The picture boasts one solitary laugh. Humes wandera Into the village store to buy a gift for the girl and is asked if he wants some- thing "for the wife or something nice?" A couple of good camera shots of horses flying over a rocky em- bankment and lots of pretty moun. tain scenery. One scene of a snow- capped mountain with its head breaking in tho blue skies looks more like a beautiful painting than a bit of nature's handiwork. Story is hackneyed, plot contains no surprises and the action hardly a thrill. Additional Film Reviews Will Be Found on Page 34 Hair Trigger Baxter J. J. Goldberg film releaelng thmuirh F. K. O. Starring Hob Custer. Directed by Jack Nelson. Cast Includes, bealdea Custer, Lew Meghan. Kugphia Gilbert, Ernie Adams, Murdock afacQuarrie and Hugh Saxon. At tho Stanley, New York, on* day (Nov. 24). Running time, 64 mlnuteea. Story of a rancher's son who cleans out a tribe of rustlers to save his parent. Previously he res- cued the girl from dance hall perse- cution, and all is well in 54 minutes. Good-looking boy, this Custer, be- sides which he handles himself so as not to overplay. Maybe the di- rector should cut in for credit on this point. Otherwise "Hair Trig- ger Baxter" is a typical western, with nothing to make it a standout among the species. The supporting cast contribute little more than their figures to carry out the yarn, Custer practically sustaining the burden alone. • Picture patrons have been watch- ing films of this order for years. And It's the old story again. Cus- ter looks as if he could play superior fare. His appcarapce should be pleasing to men as well as women, and he shows possibilities of being able to troup. But these kind of stories won't help him. Bkig. SHORT FILMS PRODIGAL BRIDEGROOM Hack Bennfttt comely, starring Ben 'fur- ptn. Paths comedy. Directed by Lloyd Ba-on. Running tfme, 14 mlnufs. Ben Turpln is his usual funny self in this one. Okay slapstick tale and business, all familiar. Falling In mud and a face full of raw dough both present. Madeline Hurloek as a vamp is a honey. Thclina Hill a pretty heroine. Turpln aha his glimmers always get laugh*. TMs film is no excep- tion. Loop. GUISEPPI VERDI One of the James A. FltzPatrick Music Master series, up to the usual par. dealing with the biog- raphy of the famous composer. Tlie "Anvil Chorus" from "II Trovntore'' Is appropriately Introdi d along with "Travlatft," the opera which broke the Italian Renins' spirit, but whieh paved tho way to his great "Aida," composed at the command of the Khedive of Egypt. It is an excellent musico-fllm in- terlude f% »h». b * st e f th e atre * . AM. Should Husbands Marry? Mn'-k Bennett Convwly, released by r< ; H*. Alice i>.n i '.rr -.1 and kM<11* Quintan frit* tared Directed )iy jvMio t'ltne. t*u tints* time, 2«» hiitiuiee^ Out-ind-out slapsti'-k e.onedy, with a rouplo of good rough-and- tumbles in it. Restaurant propria^