Canadian Moving Picture Digest (May 1925-May 1926)

Page Four CANADIAN MOVING PICTURE DIGEST Western Play Big Role Among F. B. O. Productions Action and Comedy Combined Indicate These Westerns Will Go Over the Top. F. B. O. boasts one of the most formidable programs of Western feature productions in the Industry, judging from the recent schedules announced by executives of that organization. Fred Thomson, crack Western star of F. B. O., has launched still another feature in “The Tough Guy,” having recently completed “All Around Frying Pan,” from a Frank Richardson Pierce story. Thomson occupies the niche of honor in the Western section of the F. B. O. program, his popular Conductor Regent Ottawa Returns to Hospital The patrons of the Regent Theatre, Ottawa, heard with regret on October 31 that Rodolph Pelisek, long popular as the conductor of the Regent orchestra, had been forced to return to the hospital for a serious malady. Previously he had spent several months in a hospital of Montreal where he underwent special treatment. His place in the Regent pit is being filled by his brother, Joseph Pelisek. ity increasing at leaps and bounds the world over. His future plans call for the production of several elaborate Western specials based on epic themes. Tom Tyler is at work on “The Wyoming Wildcat” under the direction of Bob de Lacy. It is a story by Percy Heath. Tyler made his debut as an F. B. O. star several weeks ago in “Let’s Go Gallagher” which scored a resounding hit, it is stated. Tyler will film eight features this season and is under a long term contract to F. B. O. Rex Theatre, Red Deer Alberta Had Fire The Rex Theatre at Red Deer, Alta. was badly damaged by fire, Oct. 20. The fire started in a room at the back, which was used as a kitchen and sleeping room by employes. A large number of people were enjoying the show when the alarm was given, and although the flames spread rapidly, fortunately no one was injured in the exit. The manager, W. A. Henry, estimates the damage at $10,000, fully insured, The Play’s the Thing Shakespeare gave us this title, and in his plays it is easily recognizable that his characters were pre-eminent, because of the importance of the play in which they breathed, moved, lived. In studying our directors of the screen, or the business policy back of their direction, in the selection of material for stars, it appears to me that the order of selection should be reversed and “the play’s the thing” should be considered first. The selection of players to follow the material selected. I cannot call a direotor great because he makes a number of stars express laughter, tears, sympathy, anguish, terror, fear, innocence, through a number of trick facial expressions; and when I see the stars this director has made, all doing the same tricks, I feel that this director has faiied to make a player, he has simply projected a male or female personality of himself, failing to catch that personality which the player had within himself. I have further observed with the few foreign directors we have imported that the play is the great objective with them and despite the fact that the star has been accustomed to do her little stunts, or indulge in her mannerisms by which she is known in every characterization she presents, these directors pluck from her this supposedly dearest possession and make her PLAY THE PART AS THE PLAY CALLS FOR. This to me is the test of a great producer, or director. The public may want Pola Negri, or Lillian Gish, or Mary Pickford, Gloria Swanson, Mae Murray, I am not trying to feature anyone in this article, simply selecting a few familiar names as they come to me, but these stars would HAVE NO FAILURES IF THE PLAY WAS THE THING AND THEY ATTEMPTED CHARACTERIZATIONS OF CHARACTERS AND NOT PRESENTATIONS OF THEMSELVES. Picture failures are sufficient proof to show us that the public, even given its pet star, will not crowd the box-office if the PLAY IS NOT THE THING. The fact that some particular star makes a failure in A PLAY WHICH IS THE THING, proves nothing, save that the star has been selected to do a characterization beyond that star’s ability. It is not that the followers of this star wish to keep her in a particular style of part in which they have patronized her, it is simply that this part may have represented the sum total of her, or his, ability; and given a larger field of operation, the ability is not there to cover it. I am not discrediting the value of the star, but the relationship of a star to a picture is the relationship of the presentation. Too many pictures have made too many unknown players stars, not to prove that “THE PLAY’S THE THING.” It is, therefore, much more important to this Industry that we develop directors who make THE PICTURE THE STAR AND NOT THE STAR THE, PICTURE. It looks as if we approach the horizon. This is the new blood which will revitalize our Industry, from this horizon we will catch a glimpse of territories, new world yet to be conquered; and we will have the vision to do the conquering. Incidentally, we will make better artists of our stars. Google “The Searchlight” I read recently that A. M. Botsford and Russell Holman were given a surprise party at the Roosevelt Hotel, New York. Mr. Botsford is the gentleman who was to write me in answer to a letter I wrote Mr. Adolph Zukor, following a_ two hour’s conference 1 had with Mr. Zukor, in which I gave him the plans for the “Hall of Fame,” across America. My letter from Mr. Zukor informed me that on Mr. Botsford’s return he would take the “Hall of Fame” idea up with me, as the submitting of the idea involved certain conditions. I am still waiting for the letter from -Mr. Botsford and for your acknowledgement, Mr. Zukor, that the “Hall of Fame” idea was given to you by me. Is this your idea of Fair Play? I’ve heard of people stealing ideas, but you’re not a promoter, Adolph, you're supposed to be a financier, get Botsford to write me the promised letter before he takes on his new duties; and of equal importance, since you have utilized the “Hall of Fame” idea, fulfill the obligations under which this idea was presented to you. If the idea is good enough for you to have used and handed over to your affiliated interests, surely you are honourable enough to say Ray Lewis gave me that idea and I will pay her for the use of it according to her proposition. Does it not look probable, since you are capable of “stealing” an idea, that all the other stories circulated about “stealing” of theatres in connection with yourself must be true? B. P. Schulberg, long identified with the market of Independent producers, has filed a voluntary petition in Bankruptcy, liabilities $820,774 and assets $1,420. Mr. Schulberg in his statements attributes to the Preferred Pictures Corp., the responsibility for his indebtedness. A report is current to the effect that B. P. Schulberg will become associated with the FamousPlayers Lasky production department. Atta boy, Adolph, give them all jobs, there’s more ways than committing murder to silence opposition. Mr. Frederick W. Beetson, Sec’y-Treasurer of the Association of Motion Picture Producers, Inc., Los Angeles, recently visited Toronto, relating the story of how Motion Pictures takes care of its infant prodigies. The information is most instructive and interesting. “The aim of our association,” states Mr. Beetson, is to make Child Labour in Motion Pictures a Recreation.” Each studio is equipped with a class room. The Board of Education provides a qualified school teacher to whom is appprtioned five children. Each child employed at the studio must have three hours schooling and one hour for recreation. No child can be utilized more than four hours during the day for work, the sum total in a great many cases, and generally is about an average of. an hour's work from a child, the director having need of the services of the child for about fifteen minutes at a time. No child works after five o’clock. Every child must be accompanied to the studio by a parent or guardian. The State Law requires that the child shall have a Health certificate, and a License to work only. The ‘association of Motion Picture Producers, Inc. having introduced the other provisions, in order to protect the children of the screen. It is also encumbent upon the child to be actually employed, the child cannot be utilizing its time in searching for employment. Health certificates from Board of Education must be renewed every three months.