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50 Cl)e Cfieatre
est film stars in the world. Commencing with such well-known stars as Phillips Smalley, Lois Weber, Francis Ford, Grace Cunard, King Baggot, Ethel Grandin, Robert Leonard, Eddie Lyons, Lee Moran, Edwin August, William Clifford and William Shay, the company soon brought over others of equal note, among them Florence Lawrence, said to be the most famous and highest-salaried female star on the screen; J. Warren Kerrigan, acknowledged to be the most handsome man on the screen ; Augustus Carney, the original Western cowrboy comedian; Lea Baird, Wallace Reid, Dorothy Davenport, Victoria Forde, Edna Maison, Hazel Buckham, Marie Walcamp, Max Asher, Pauline Bush, J. M. McQuarrie, Herbert Rawlinson, Rupert Julian, Essie Fay, George Periolat, Alexander Gaden and Eugene Ormonde. Every one of these artists is a favorite, and many of them are internationally famous.
Hardly a week passes but that the Universal is in a position to announce some coupe de maitre of sufficient importance to set the industry on ear. Either it is some striking innovation with respect to business policy or move, or the tying up of one more film star. Probably the greatest coup that was accomplished up to now was the acquisition in the latter part of February, 1914, of the quartet of comedy producers. Ford Sterling, for a long time the chief lodestone of the Mutual f un-m_akers ; H. Pathe Lehrman, who was not only an able director of Keystone comedies, but the provider of most of the ideas introduced in the whirlwdnd burlesques; Fred Balshofer, skilled as an executive in such matters, an official of the New York Motion Picture Company, and Robert Thornby, who gained fame in Vitagraph dramas and comedies and who had