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delightful village of Ilsington, on the border of Dartmoor, the deserted copper-mine which had such dramatic influence in the tale, and the different aspects of the wonderful moor which has so often figured in his yarns. No wonder the making of the picture in such surroundings and with such an introduction was a delight to me, and I think all my crew were equally happy. And what a crew it was! That good scout, Jimmy Carew, with Alma Taylor, Gerald Ames, Gwynne Herbert, Eileen Dennes (new to us then but a great find), MacAndrews and Lionelle Howard. And glorious weather and the whole of Dartmoor to play about on!
Sheba, the script for which was prepared for me by Blanche Macintosh, was principally noticeable for the fact that it was the first film I produced with Ronald Colman acting in it. His was an unknown name in those days and I, knowing nothing of his ability, cast him for a part of no great importance. There was, consequently, nothing very distinguished in his acting, for the part did not give him much opportunity and I don't think he had ever been in a film before. All the same I did take sufficient note of him to keep him in mind for another and better part as soon as there was an opportunity. I also noted that he appeared to have some slight awkwardness which prevented him from walking really naturally in the film. It may have been merely temporary or he must have overcome it, for I have not noticed it in any of his films which I have seen since. I must have thought well of him for I remember inviting him to join our company, but he said that he was determined to go to America. I do not suppose he has ever regretted that determination, but I have — often.
Another script from the same writer and at about the same date was Once Aboard the Lugger which was produced by Gerald Ames in collaboration with our clever French colleague, Gaston Quiribet, happily released from the war and back in our company after more than four years. He was in some kind of reserve in the French army and rushed over to France the moment the war was imminent. I had feared, of course, that we might never see him again, and I was mighty glad to welcome him back, as was everyone else in the studio and laboratories. He is now in the Kodak Company in Paris and when I saw him the other day he looked well and very happy.
The last important film of this year, so far as I personally was concerned, was Phillips Oppenheim's Anna the Adventuress, which was trade shown in the beginning of the following February, that
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