Camera - April 14, 1923 to February 16, 1924 (April 1923-February 1924)

THE WORLD'S GREATEST FILMPAPER Illume VI SATURDAY, JANUARY 19. 1924 Number 40 Infuriated filmdom arises to combat bitter shuler attack! ONDON HAILS NEW COLOR CINEMATOGRAPHY N OF FRIESE-GREENE, NOTED BRITISH CINEMA INVENTOR, HAS NEW COLOR PROCESS n announcement of importance the British film industry, as well in the world of film art and ence, was made the other day, was hailed as a distinct adceinent in cinematography, hat Mr. Claude Friese-Greene developed an entirely new or film process of remarkable istic and scientific possibilities s the news which created great erest in London film circles. dditional interest attaches to s invention by reason of the that its creator is the son of inventor of cinematography, late Mr. W. Friese-Greene, delv known as the "Father of Film," whose death, two years o, revived much comment on the hievements of this pioneer in emetographic invention. Mr. iese-Greene's funeral on May th, 1921, was an impressive pubceremony conducted by leading mbers of the British film indus The son of the originator of ematography has now come forard with an invention which is pected to advance the art and ience of cinematography along any lines. Mr. Claude Friesereene is only 25 years of age, but s already had much experience the field of film science, and has en experimenting with color cinatography since he was in his ens. There have been a number of lor film processes invented, but e development of color films that ould be both artistic and comercially practicable has been aught with many difficulties. new invention is declared by hnical authorities to be entirely ccessful from artistic standpoints nd to have the great advantage f being based on a process by hich positive prints can be made 9 easily and quickly as black-andhite films, tinted, and at a price hat makes the commercial success >f the films a certainty. The economy of the manufacture of the ilms places them within the reach if every exhibitor, and the films 'ire projected by the ordinary pquipment. | Although the process is still young, it is said to mark an advance on any color films yet developed. The colors are soft and natural in tone, and there are stereoscopic values which, the inventor declares, will be still more emphasized as his experimentations proceed. Friese-Greene has made wide research in working out his process, and has studied exhaustively the scientific and artistic aspects of light rays and color luminosity. The story of this invention reads like a romance. Millions have been made through science of cinematography conceived by the late Mr. Friese-Greene, but the inventor himself, after more than a quarter of a century of devoted effort, in the face of every discouragement, died without having received financial reward for his great gift to the millions of the world who find pleasure, recreation and education in the cinema theatres in many countries today. At the time of the inventor's death this statement was printed: "On June 21st, 1889, Mr. FrieseGreene made provisional application for a world's patent for the first cinematographic machine, and on Mav 10th, 1890 was granted patent No. 10,301. That patent stands pre-eminent. Mr. FrieseGreene's first motion picture was a street scene taken at Hyde Park Corner. He also was the first to invent the perforated edges in the film. Before he brought out celluloid, he first used paper dipped in oil to make it transparent. He kept on inventing improvements, and spent £20,000 on the work." Yet, in spite of his great invention, the elder Mr. Friese-Greene was never rewarded for his genius, and never, in fact, recovered the fortune he spent in developing his cinematographic process. As the younger Mr. FrieseGreene grew from youth to manhood, he observed the trials of his father and realized the tragedy of his failure to profit financially from his invention, but the young man was not deterred by this gloomy prospect from his ambition to contribute something of value An alert and dynamic factor in the application of tried and true business prim i pies to studio management, and therefore an outstanding figure in the progression of the cinema art as a whole, is M. C. Levee, head of the United Studios, which is just bringing to conclusion the first phase of an elaborate expansion plan designed to meet the needs of the industry for many years to come. It is on men of this kind that Filmdom centers its hopes for the establishment of the motion picture industry prominently in the foreground of the commercial, industrial and artistic activities of our country. He represents the caliber of man <we have needed a mighty long time. Film Folk Pledge Aid in Fight for Truth Close upon the heels of the >>tinging denunciation of the motion picture people published a fortnight ago by Bob Shuler, Los Angeles reformist, and the subsequent defi hurled by "Camera!" and Filmograph, the two leading Hollywood film papers, come scores of messages from people in various branches of the industry endorsing the defensive measures adopted by the two publications, and pledging, support to the campaign to be waged to secure justice and a public apology from Shuler. The unanimous opinion is that Filmdom has been subjected to abuse too long and most of the folk refer to the Shuler incident as the "last straw." . Tentative arrangements are now under way for a conference between Fred Niblo, nominal target of the tirade, Chris Lykke. editor of Filmograph and Fred W. Fox. editor of "Camera! " to propound ways and means to insure the hill success of the program. Thimeeting will probably be held the first of the week and full details of the conference will be given in next week's issues of the papers. to the science originated by his father. For some time, he has been conducting experiments based upon his original views of light values and color combinations, which have now resulted in the process he has developed. It was only a short time after his father' death that the young inventor discovered the method by which his theories could be embodied in a practical means of projecting color in motion pictures on the screen. A company has been organized to handle this invention, and an ambitious program has been mapped out for making the most of Friese-Greene's color film process. Offices have been opened by the Company at 17. Shaftesbury Ave., London. Sunshine Sammy, one of Hal Roach's much boleved 'lil rascals of "Our Gang" fame sprung a good one when he met big Billy Moon, Hollywood's new 320 pound laugh producer. Said Sunshine, sheltering hit sixty-odd pounds 'neath the rotund Hilly Moon's " balcony"— "Y ou sure am lucky, man, that they all called you Billy Moon and me Sunshine, 'cause if they had called you Sunshine Moon and some fool press agent sprung a story 'bout 'interviewing' that 320 pounds of Moon Shine — Oh! I.awdy man, what a riot they would be." Pat O'Malley, leading man for f.aurette Taylor in "Happiness," will spend a month in Ireland next summer. Pat, aciompanted by Mil <>' M alley and his two daughter' "Sheila" and "Little l.ady Eileen." will visit the home of his parent' and take his first rest in years, among his countrymen.